With more than 85 million streams to her name, Florrie has long occupied a distinctive corner of British pop. A drummer, songwriter, producer and multi-instrumentalist, she has built a career balancing studio innovation with undeniable pop instincts, collaborating with everyone from Girls Aloud and Kylie to George Ezra and One Direction. Now, she returns with her second album, Magic For a While, an ambitious and deeply personal record that explores overstimulation, nostalgia and the relentless pace of modern life. Produced alongside long-time collaborator Brian Higgins, the album combines live energy with sleek pop craftsmanship, reflecting on identity, impermanence and the beauty that can still be found amid the chaos. Led by the explosive new single The Times, Florrie confronts the emotional overload of the digital age while never losing sight of her gift for writing intelligent, euphoric pop. Ahead of the album’s release, we caught up with Florrie to discuss the journey behind it.



If Spreadsheets had to be performed inside an actual office, what's the first workplace rule you'd break for artistic reasons?

No animals in the office?! I would enjoy playing with an array of farm animals. Donkeys, goats, a few pigs, some geese. I’m thinking of that scene in Mrs Doubtfire where they have the kids' birthday party with all the animals and it’s absolute chaos. I’m not sure if this would be for artistic reasons or just my own joy!

You wrote parts of this album between LA, Brighton and Wiltshire. Which song feels most confused about where it lives?

I don’t really think of the songs as having a literal home in that sense; I guess I’m their home, so wherever I am!

As someone who starts songs from drum loops, have you ever accidentally created a beat so good you got annoyed at the song that came after it?

I have moments where I really love a beat, or chords, but I can’t get a melody to fit. That annoys me! When the musical idea is great but the song (melody and lyrics) doesn't quite match up. Those ideas usually get left on the cutting room floor, but occasionally I’ll go back to them and try again.

The Times is about information overload. If your brain had a pop-up warning like a laptop, what message would it display most often?

'DON'T FORGET…’ This would be very useful!

You’ve worked with everyone from pop royalty to indie icons. Who would be the most chaotic person to get trapped in a rehearsal room with for 24 hours?

Anyone who plays sub bass. My ears cannot handle sub; I don’t know why, but it really irritates me. Also, my old flatmate, who was also an artist and extremely high drama. I actually did get trapped with her once in our own flat, and it was a lot.

Late Night Running Through New York sounds like a film title. If the song were turned into a movie, what would happen in the opening scene?

I’d be in a little shop at 4am, happy and a bit drunk, buying some Oreos and a bottle of water. I think it would start at the end and go backwards….

You've played Prada shows, and Grey's Anatomy has used your music. What's the strangest place you'd secretly love to hear a Florrie song next?

I’d love someone to translate a song into sign language! I just went to a festival where people were singing all the sets and getting so into the music and lyrics…. I thought it was so great!

If every track on Magic For a While were a person at a house party, which song would be:

starting deep conversations at 2am - Magic for a while

disappearing without saying goodbye - (this is so me) Late Night Running Through New York

and somehow ending up on the roof? - Malibu (Falling Over The Egde) not relating to the roof...

You’ve spent years helping other artists bring songs to life. Is there a tiny musical habit you've accidentally left behind in someone else's music forever?

Oh 100%. There’s a certain little group of notes I find myself going to when I write melodies. Not all the time, but I think I have a writing style for sure. If I had any formal training or knew any music theory I’d be able to tell you what the pattern is called, but sadly I don’t!

As a drummer, producer, songwriter, and singer, which version of Florrie is most likely to win an argument, and which one is usually wrong?

It’s funny because music is so subjective that there is almost no clear right or wrong. But if I had to choose, I’d say drummer Florrie is most likely to win an argument; she knows what she's doing most of the time! And producer Florrie is more likely to be wrong…only because I produce quite instinctively and am not great at remembering a lot of the technical words for stuff, so if I’m working with other people, I end up just making noises to demonstrate an idea. 

The album deals with nostalgia and time passing. What's something from 2010-era Florrie that you'd still defend with your whole chest today?

Oh lots of things! I’m really proud of everything we (my little team included) achieved when I was starting out! That said, there are a few things I wouldn't defend... haha. But I learned a lot on the journey. 

If The Time had existed in 2005 instead of 2025, what would have been causing the emotional overload back then?

I would have been 16! To be honest, back then I had a really lovely naivety, and I think as a teenager my world was mostly inward-facing. Having said that, I was definitely a worrier too. I’d have quite a lot of existential worries; I’d worry about my nan a lot, my mom, if I was doing the right thing, if people thought I was a good person, and if my dad was lonely.

Your fans have waited a long time for album two. What's something about Magic For a while, that could only have been made by the version of you that exists right now?

Oh everything! I spent a lot of time looking back at different moments in my life and thinking about all the people, places, and experiences that have made me who I am. Some are more recent, and some go a long way back. I don’t think I would necessarily have been able to reflect on them in the same way before. I wrote most of the record alone in LA. No friends or family, and I had a lot of time to really think about what I wanted to say. I can’t think of another time in my life where I’ve had true solitude for such a long time.



You wanted the record to feel human. What's the most gloriously imperfect moment on the album that you refused to tidy up?

I’m a bit of a perfectionist, so I really tried on this record to let things be. I think part of being a good producer is understanding those perfectly imperfect moments! Brian, who I co-produce the records with, is amazing at this. Often we will use the first take of something. Sometimes even parts of the original scratch demo vocal make it in because they really do have a magic feeling. And that usually comes from a place of inspiration where you’re not thinking of anything at all, and it is flowing out of you. As soon as you start redoing things, you can really overthink it. The best ideas for me are those little music moments that are captured on the fly, not planned or overthought. We work in this way a lot, so I'd say there are a lot of moments on the record! 

Imagine you can send one song from Magic for a While back to the Florrie who was uploading cult-pop releases in the Xenomania days. Which track are you sending, and what's the message attached to it?

I would send Warrior. The chorus melody is an idea I had back in the early Xeno days, and I finally got around to finishing it on this new record! The note would say, 'IT'S 2026 AND YOU’RE STILL DOING THIS AND BRIAN GAVE IN TO YOU ON THE EXTRA BAR’ (a long-standing debate!!!!)


PRE-SAVE THE ALBUM HERE