£12.95
Experience the heartfelt debut album from Florence Sommerville, Endless Horizon. Blending soulful vocals with rich country instrumentation and honest storytelling, this collection of songs takes you on a journey.
Receive 4 exclusive bonus tracks with this physical CD not available in the digital release – a must-have for fans and collectors alike.
Whether you’re discovering Florence for the first time or adding to your collection, Endless Horizon is a captivating introduction to a rising voice in country music.
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| Version | Digital Download, Physical CD |
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Endless Horizon
Floville Music FL-CD-001
TRACKS
ACOUSTIC BONUS TRACKS (CD Only)
6 reviews for Endless Horizon – Full Album
Entertainment-Focus –
Florence Sommerville is a rising UK country artist whose heartfelt storytelling and rich vocal presence have quickly set her apart in the genre. Born in Orsett, Essex, Florence picked up a guitar at the age of eight and was writing her own songs by 12. Her early passion for music led her to the finals of Open Mic UK at London’s O2 Indigo Arena by the age of 14, paving the way for performances at major events like Latitude Festival, Maverick Festival, and AMA Music Week in Nashville. She’s since graced legendary stages including Nashville’s Bluebird Café and London’s Green Note, and has collaborated with renowned songwriters in both the UK and US.
Today, July 18th, Florence releases her highly anticipated debut album ‘Endless Horizon’ via Floville Music, marking a major milestone in her young but already accomplished career. The record is a deeply personal and emotionally mature journey through love, loss, and self-discovery. Florence balances vulnerability with strength, optimism with realism, offering a refreshingly honest perspective that defies industry stereotypes. With a sold-out headline debut at Camden Chapel and past support slots for artists such as Diana Jones and Tom Robinson, Florence Sommerville is emerging as a powerful new voice in modern country—rooted, real and ready to redefine the genre on her own terms.
Florence Sommerville’s debut album Endless Horizon is an impressive introduction to a distinctive voice in the folk-country-pop space. The opening track, ‘(I’ll Be Your) Best Broken Heart,’ sets the tone with a dark, lush 90s-country vibe, dripping in sensuality and self-awareness. “I’m known for loving and leaving,” Sommerville warns, her Trisha Yearwood-esque vocals wrapped in plaintive guitars and a bold chorus. It’s a statement of intent: this is how she loves—unapologetically, deeply, and on her own terms. The drama and confidence of the opener make for a compelling start.
The album quickly pivots into a lighter, more playful gear with ‘Fearless,’ a bluegrass-tinged track grounded in acoustic guitars and rustic fiddle flourishes. Here, Sommerville recounts youthful misadventures—denting cars, sneaking out of windows—with an earthy charm that feels like it belongs at a barn dance. “Without mistakes life’s no fun,” she sings, celebrating risk-taking and imperfection. It’s a refreshing moment of levity that highlights the multifaceted nature of her songwriting, where humour and grit live side by side.
‘Overton’ stands out as one of the album’s most poignant tracks, offering a deeply personal narrative that shifts from third-person observation to first-person vulnerability. In what feels like a semi-autobiographical tale, Sommerville charts the rise and fall of a young couple in love, ending in quiet heartbreak. The instrumentation is gentle and wistful, reinforcing the emotional storytelling, and the melodic pacing gives the song room to breathe. This is songwriting with both depth and subtlety, evoking the best of 90s Americana.
Sommerville ventures into darker territory with ‘Broken Pieces’ and ‘Molasses,’ two standout tracks dripping in drama and southern gothic flair. ‘Broken Pieces’ sways with voodoo blues and betrayal, full of shadowy guitar licks and raw emotional power, echoing the stylings of an artist like Kezia Gill. ‘Molasses’ slows the tempo further, with a swampy beat and tales of toxic control and emotional entrapment. These are among the
most theatrical moments on the record—richly textured and unapologetically intense, showcasing her ability to shift tone without losing coherence. Lighter moments like ‘California’ and ‘Boots in the Rain’ bring a breezy melancholy that balances the album’s more dramatic turns. In ‘California,’ Sommerville dreams of escape from a post-breakup malaise, using weather as a metaphor for her internal climate—“I used to love the rain, I didn’t mind the cold.” ‘Boots in the Rain,’ meanwhile, is a beautiful meditation on finding solace in nature, contrasting pastoral freedom with urban fatigue. These songs, along with the subtly devastating ‘Love Me Then’ and the mournful ‘Forget the Water,’ demonstrate Sommerville’s gift for vulnerability and evocative imagery. She never overplays her hand, always letting the lyrics and melodies carry the weight of emotion. The most impactful line in the whole album closes down ‘Love Me Then’ in such a way that your heart almost breaks for Florence – we won’t spoil it here, go check it out for yourselves.
The album closes with ‘Cut and Run,’ a song of tentative hope and new beginnings. After an album full of heartbreak, longing, and introspection, it’s a gentle exhale—a suggestion that healing is possible and love can still be a safe harbour. “You bring calm to the chaos,” she sings, offering the listener a final note of optimism. ‘Endless Horizon’ is an incredibly assured debut, rich in character, storytelling and sonic variety. For a woman in her early twenties, Florence Sommerville writes with remarkable insight and maturity. It’s not just a debut—it’s a declaration and statement of intent.
FATEA –
Florence Sommerville has been one of the rising stars of British Country music for some time and her debut album confirms the promise. We praised the single (I’ll Be Your) Best Broken Heart recently. She says that “the song was written during my second ever visit to Nashville, in April 2024, with two incredible writers: Shantell Ogden and Corey Lee Barker. Once we had started, the song just seemed to flow out of us all.” And it’s an effortless song to listen to, with all the best things about modern country without the grit sanitised out. Fearless, adds a bit of
Bluegrass to the sound, with the mandolin complementing her vocal delivery very well.
Overton (presumably after the Hampshire village) stays with the acoustic format. Joe Mansfield’s Dobro punctuates her story of young love. As the first song written solely by Florence there is no discernible drop in quality, but a definite increase in the personal sound which does reflect in her singing. The other two single releases Broken Pieces and California are next and back to the very contemporary country, although the former has an unmistakeable Fleetwood Mac circa Rumours tinge to it, which is a good thing, and certainly makes it an album highlight.
The Ballad California is another co-write. The team including singer and songwriter Sally Barris who contributes to 4 of the songs on the album. The co-writers do inject a little more Nashville into the songs, which she needs to offer to make this a commercial prospect, although for me her own writing is as good as the team writes. The closing guitar solo in California is delightful.
Out Where Love Grows endorses the “Britishness” of her writing. Once again, she talks about English village life, she comes from Orsett in Essex. Her own writing does seem to suit the more acoustic style, and this is easily one of the best country songs you will hear this year. But you could say that about most of the album. Silly Little Things, another of the Barris co-writes, and is clearly one that didn’t start with Florence, although she has put her stamp on the song. Forget the Water is a great example of the maturity of the writing; she’s in her early 20s. While this has 2 co-writers it is clearly Florence’s song and is another lost love song, where she buoys herself up with Whisky, without the water. Sung solo to her own guitar, this is where the strength of voice shines out.
Each song reveals another aspect of her music, without the album unity suffering. There are a few dominant instrumental voices, Dobro on the acoustic songs, like Love Me Then and a precisely picked electric guitar and pedal steel on Boots In The Rain. The last two songs, another Fleetwood Mac influenced song, Molasses, which really could be sing by Stevie Nicks without feeling out of place, and Cut And Run, both of them solo writes, with the latter being the ballad highlight of the album.
A good reason to buy the CD are the 4 acoustic songs. Her own Whiskey in the Morning highlights possibly her best singing here, and a guitar and voice version of Love Me Then stand alongside covers of Sweet Child O’ Mine, rapidly becoming the country cover of the moment. She more than does justice to it. We also have Stevie Nicks’ Landslide which confirms what we have already suspected that she must be a favourite singer. Taking this and making it her own is a true achievement and confirms that we have a major talent blossoming. It also confirms what we said in our recent review of her single that Florence is currently Britain’s best Country singer. Make sure you see her before Nashville claims her permanently.
Lonesome-Highway –
This is a very impressive debut album from a singer-songwriter who hails from a small Essex village in England. The twelve songs give the impression that this musician has wisdom beyond her years with her finely honed insights and perspectives, whether gained from personal experience or from observation. There are six co-writes included, with the remaining six songs self-penned. An interesting mix that points towards her song craft developing in the best possible way, by combining personal sentiment with the discipline brought from other writers who can offer experience, nuance, and different shades to these collaborations. There is a temptation to put her into a pop country package because of her young age but that would just be lazy assumption. What you get is a considered songwriter who tips more than a passing hat to the older traditions of country music while placing her own unique stamp upon these song arrangements and melodies.
There is a happy optimism on Cut and Run where the urge is to just get away from the daily routine with a new partner ‘What about it baby if we just ran away, Leave the questions and the answers for another day.’ Independence is the again the theme on Fearless with the bravery of youth reflected in taking risks ‘If there’s chances, I’m takin’ em, If there’s rules, well I’m breakin’ em, They say no, I say yes, I have always been fearless.’ The message on (I’ll Be Your) Best Broken Heart is that the lady is not looking for commitment, just a good time without any ties ‘I’m here for a season, I’m known for loving and leaving, I’ve got a gypsy soul, That’s something that you need to know.’ Summer fling anyone?
There are songs that echo relationship break-ups such as Overton, Broken Pieces, and Silly Little Things. Unrequited love is the topic on other songs such as California and Love Me Then, whereas the impact of addiction in a relationship is something that runs through the lyric on Forget the Water ‘Every time you hit me with that sideways smile, I would take you in like some lost wayward child, Now all I see is a grown man acting foolish, And the fool that used to love you in denial.’ Molasses is yet another song that references being under pressure in a toxic relationship ‘So go and stay gone, Don’t haunt me anymore.’
The joy of growing up in rural England is captured on the excellent Out Where the Love Grows and acknowledgement of the quiet country town memories of her youth ‘When you need reminding of who you are, This place brings you back like a guiding star.’ Boots In the Rain is a song about the joy that music can bring and the need to travel in pursuit of a dream ‘Got a song in my soul, A heart that don’t want to be tamed, And some boots in the rain.’ There are four bonus tracks on the CD version and the two covers are well delivered in Landslide (Fleetwood Mac) and Sweet Child Of Mine (Guns and Roses). Whiskey In the Morning is another song about the price paid for addiction and the cost involved for others, ‘He’s used to everything spinning, don’t want to know what he’s missing, most days he’s just happy it all goes away.’ An acoustic version of Love Me Then is further confirmation of the fine performances that Florence delivers across all of the songs included.
The sound production is crystal clear and full marks to producer Alan West and engineer Adam Sweet in their vision for the songs. The band is comprised of Florence
Sommerville (lead and harmony vocals, guitar), Damon Sawyer (drums), Nick Bayes (bass), Tom Wright and Adam Sweet (acoustic and electric guitars), Tom Berge (electric piano), and John Taylor (harmony vocals). Florence has an impressive vocal range, changing her tone in the delivery, with both power and subtlety used in appropriate measure in her performance. At the tender age of only twenty-one, she has certainly announced herself as a real talent to the various music media platforms. As debut albums go, this one is punching well above its weight and certainly worthy of your attention.
The-Rocking-Magpie –
Southern Gal, British Country With an Eloquent Style That Possesses Many Well-Honed Attributes.
UK country act, Florence Sommerville’s album debut, Endless Horizon finds her displaying a maturity beyond her twenty young years.
She is never overshadowed here or found unable to rise above the varied and incredible good support from her band, and she couldn’t ask for finer support who are completely in synch with Sommerville’s lead, and intonations; courtesy of a string of fine players, lead guitar, dobro and rhythm section dancing the airwaves alongside her. Plus her assured vocals are matched by her accomplished songwriting.
Previously released as a single, California sways gently, like a willow tree in a soft summer breeze. Warmed by a busy combination of swirling lead electric guitar, harmony vocals and a strong rhythm Sommerville hits home with her image strewn lyrics, the power of her voice and lyrical content are first class.
Doused in swirling lead guitar, restless opening piece (I’ll Be Your) Best Broken Heart shows off a powerful, determined stance. With an acoustic opening, Fearless speaks of her youthful exploits, crashing daddy’s car being one; and this melody is filled with fiddle, lead guitar and so much honesty, Florence really engages with the listener. Overton though; has a warm, carefully assembled feel and her worth as a storyteller by this time, has already shown excellent value and maturity Broken Pieces rocks along nicely, with lots of ‘space’ too; her lead vocals aided by strong harmony vocals, and anchored by strong rhythmic undercurrents and some tasty lead electric guitar riffs.
Out Where Love Grows changes things. A simple song in essence, as her telling lyrics take the listener through the area she grew up (a small village in Essex), as acoustic guitar, dobro and a pressing rhythm augment her pure, flowing tones. Arguably my album pick.
Silly Little Things is another fine effort. Excellent lead guitar aided by pedal steel plus harmony vocals fuelling the track like nitro in a Mini Cooper, making for a powerful break up song.
‘Woke up today,
I was feeling totally fine,
ready with a clean slate,
want to leave you behind,
all I wanted was a cup of coffee
and walk out the door’,
…
‘All I wanted was to close my eyes
and forget you’, she sings as she tries to break ties.
The dreamy, thought provoking, Forget The Water tells us,
‘My sober eyes can see,
it’s the only time you miss me,’
as she tells of an uneasy relationship. Reflective, it speaks of a young woman coming to her senses in a turbulent relationship.
Love Me Then has lead guitar and dobro ushering the track and Sommerville’s vocals along, making the singer skip in relaxed fashion as her voice intertwines with the playful melody. Like with many tracks, the arrangements are carefully assembled; top class all-round.
Some really chunky rhythm and roving guitars drive Boots In The Rain along. While I feel the drums are too prominent, the steel guitar is enough to keep everyone’s attention.
Molasses comes and goes, nicely enough, while Cut and Run has a greater depth to it. Sommerville speaking of an old love, both are bigger productions than previous songs btw. Though not necessarily better for the fact although Cut And Run’s less cluttered opening burst for me has a greater appeal.
My copy has the album’s twelve original tracks enjoying four acoustic, ‘bare to the bones’ bonus cuts too. All are tender ballads awash in subtle textures and craft, Whiskey In The Morning, Landslide, Love Me Then lead into the lively and fascinating take on Guns n Roses’ ode, Sweet Child O’ Mine underlining Florence Sommerville’s special talents.
The UK country music scene is enjoying a flush of quality emerging acts at the moment, and with Florence Sommerville now on the horizon, it’s never looked better.
ThreeChordsandTheTruth –
It’s late summer 2022 and a young singer-songwriter takes to the stage at Moseley Folk and Arts Festival to open the second stage on Saturday morning. A sound erring more on the country pop side has to possess a certain oomph to catch ears at an event where edgier cultured acts parade a penchant for indie folk and Americana. From a then limited base Florence Sommerville cut a figure of promise as someone striding across invisible boundaries. Via a similar low key outing at last year’s Maverick Festival, the same ears sensed an evolving process taking shape. Finding the sweet spot from your inaugural full length recording outing is a tough task. ENDLESS HORIZON is aural proof that early nous was not misguided. The leading songs landed on a precise mark; the final package unwraps as a record swathed in layers of sumptuous songwriting and a style breezing with an acute perception of exploring an horizon with self assured depth.
There is a supple dexterity to the twelve core songs on the album (some versions of the record contain four bonus acoustic tracks). They take the optimism of engaging pop country and weave in meatier aspects of seasoned maturity where musicianship and lyricism reside on a higher plane. Bookending your record with a pair of prestigious tracks cements an appetising listening interaction. ‘(I’ll Be Your) Best Broken Heart’ carves a defiant pose from the lead off position, while closer ‘Cut and Run’ is a bounding anthem touching rare parts. If you seek one named association, the latter echoes Morgan Wade. Boosting obvious Stateside influences sits in the wishful ‘California’ thriving at the album’s heart, and a key candidate to parade on the podium.
All the main dozen tracks are original compositions, some solo – others assisted by songwriters such as Gary Burr, Shantell Ogden and Sally Barris. Country stalwart instruments: pedal steel guitar and fiddle, feature from the early stages, hardening the music edge without letting a traditional sound override fresh overtures. The writing enters its most serious zone in ‘Molasses’ and emerges as an important song addressing mental abuse. Reflections are a little lighter in the catchy ‘Fearless’ illuminating the early phases with added mandolin. One of the singles was the punchy ‘Broken Pieces’, a number depicting the album’s flexible appeal. ‘Boots in the Rain’ has a title awash with country connotations and is a tenderer offering enacting the album’s versatility. There is an added sensitivity to ‘Out Where the Love Grows’ sharing pride in the mid parts adorned in all the panache of iconic 90s/00s female country music. In some respect this album is an extension to a golden age where ceilings were smashed. This track slips into the nostalgic longing beauty ‘Silly Little Things’ laced with pop stardust whilst retaining genre integrity. ‘Overton’ has the daunting challenge of being nestled among the album’s big hitters and thus needs to pedal harder to impress. In the overall listening sphere, it feels at home without attaining the peak. ‘Forget the Water’ takes us into ballad territory, an area with room for development though well within the capability of a talented artist. ‘Love Me Then’ completes the delightful dozen easing along with a listenable melody while residing on the album’s gentler side.
ENDLESS HORIZON epitomises the zestful vitality of a fresh approach to heritage stacked music. Florence Sommerville pulls off a laudable task of reflecting her true self at a moment in time within a gift awash with listening pleasure. An ability to reach out without compromise makes this an attractive debut. An artist can do no more than conquer the present and this is achieved within the realm of music resonating with open ears. The promise of late summer 2022 has blossomed in mid summer 2025.
TEAMw21 –
It was October 2023 when #TEAMw21 wrote about Florence Sommerville’s first single, since then it has been a roller coaster ride of experiences packed into less than two years culminating in “Endless Horizon” her debut album. Already firmly established as an accomplished solo performer, there will no doubt be a lot of people looking at this album to find out what all the fuss is about.
For an album called “Endless Horizon”, Florence appears to be in jail cell, looking at the cover. It’s an album split 50/50 between self compositions and co writes though as to which are which may come as something as a surprise, as you work your way through. Produced by Alan West and with his seasoned band providing the backing there is a lot to enjoy. The album opens with its lead single “(I’ll Be Your ) Best Broken Heart”. Florence’s somewhat bashful persona from “On My Way” her debut single, has also been drastically overhauled on this song as she turns into a totally different beast!
Co-written with among others, a name very familiar to #TEAMw21, Shantell Ogden. It has very much the feel of a live band playing in a big space. As the band kick in, from the off, there is a solid back beat along with delightful keyboard sounds of piano and organ and a mixture of guitars. It certainly sets the scene for Florence to unveil her new, more forward self. some sort of travelling femme fatale.
“I’ve seen that look before
I know what you are falling for
You better reel it in
Cos what you wanting I can’t give
I’m not the picket fence kind
Wish I was, but I’m not gonna lie”
Florence’s initial vocals are quite restrained as her persona has a weary “I’ve been through this before” vibe for much of of the opening verse, it is only as she approaches the chorus that she starts to rev up and go through the vocal gears. The final line hints at some wish of domestic bliss, but nothing else in the song particularly seems to allude to this hankering for a quiet life. Instead the reason for her reticence to get seriously involved is more laid out in the chorus.
“I’m here for a season – I’m known for loving and leaving I’ve got a gypsy soul, that’s something that you need to know I’m all in for the moment, I’ll be the best thing you have going Even when I leave a mark, I’ll be your Best Broken Heart”
The chorus itself sees a more forthright delivery from Florence. This peculiar travelling heart breaker lives by her own rules “This is how I love – It’s ok, if that’s not enough It’s all up to you, just wanted you to know what you’re getting into” and as if it needed reinforcing – Florence vocals ramp up further to enforce the lines that define her character in this song.
“Nobody’s going to tame me
Nobody’s going to change me
Don’t need nobody to save me”
If the opener is a work of fiction then “Fearless” reads as an early
autobiography. detailing a number of calamities in her early life. From
Florence’s live sets, it is the song you are undoubtedly most likely to find
yourself humming later in the week. This version initially plays out over
Florence’s acoustic guitar some percussion and an accordion
“I bet Jim and my bike could fly – ended up with a three inch scar
Swore up and down that I could drive, and put a big old dent in my Daddy’s
car
Climbed out my bedroom window, to meet a boy at 2am
Fell off the roof and broke my arm, trying to climb back in”
The chorus is somewhat Florence’s theme song
“You may say I’m way to young, for all the stupid things I’ve done
Without mistakes, life’s no fun
So one by one I’m making them
If there’s chances I’m taking them
If there’s rules well I’m breaking them
They say “No” and I say “Yes”
I have always been fearless”
It plays out to a sort of Old Crow Medicine Show backing with fiddles and joyful mandolins, which seems a little quaint and at odds with tales of
downtown Essex, but it is an unstoppable song nonetheless.
“Got quite an impressive list – of temptations I could not resist
But I got a lot more temptations to go, and I’m not going to run cos I know”
“Overton” is the first Florence solo composition on the album, and listening to it after recently watching a documentary about Nanci Griffiths, her
presence hangs over this track which is no bad thing. With a strong narrative, spanning many years, Florence expertly guides us through, even
throwing in an unexpected plot twist towards the end. An undoubted gem. On it’s initial release as a single, “Broken Pieces” was the first of Florence’s singles that we struggled to like. Even now the last minute seems
superfluous where little of note really happens however perhaps for the rest is maybe due a reassessment. it opens to a mid tempo blues and finds Florence in a scathing mood
“You set yourself on fire,
Go fast enough and you might outrun the flames
Give in to your desire
Flee fast enough and you might outrun the shame”
The chorus finds Florence being hit by the reality of the situation she finds herself in.
“I could walk around town saying how much you care And tell my Mama that you’ll always be there But I don’t now if I believe it – I’m seeing broken pieces” The second verse sees Florence on the offensive
” Don’t want to be a town cryer – but I want everyone to know just what you
are
Cos I could lie and lie and lie – but you’d still hang me out to dry dry dry”
There was no such concerns with the previous single “California” a marvellously wordy concoction matched to a tune that somehow feels timeless, as if you must already know it, yet if you do, it cunningly evades you!
“It’s 10 o’clock on a Tuesday morning
Someone’s yelling that the coffee’s just too damned hot
Make it stop
As I pour another cup, you burst in
Saying all the things that I wished you would’ve said
That’s the movie in my head”
There’s a curious mix in that first verse, from the exact timing of the opening line, and that unsettling mundane argument happening at a time when Florence clearly has other things on her mind, before leaving us with the pay off, that it is some sort of daydream. Florence’s phrasing sees the lines beautifully blur together The chorus is pure escapism, and where better to escape to, with “California” idealised in the reflection of the wing mirror on the cover picture featuring a tiny pair of discarded cowboy boots, to tie in with the chorus
“I could drive down to California, ignore that I’m blue
Stare at the shoreline, take a walk with no shoes
Get out of this day today
Let my life go a different way
I’ve got nothing left to lose
Finding me without you”
The second verse is a contrasting before and after summation, the first half still fondly recalling the good times of the past, while the latter describes the present, cleverly tying in with the first half by using the word “drench” but as a means to describe sunshine rather than rain.
“I used to love the rain, I didn’t mind the cold
You’d hold me in your arms and
You would keep me warm
Sheltered from the storm
All I want is sun, drench me in the light
I’d go for late nights on the walk of fame
To wash away the pain
To get over you”
It just leaves Florence to ponder one last quandary
“Could I drop everything
And follow my dreams?
Is the ocean as big as it is seems?”
The final chorus features a majestic combination between singer and band who put in a sterling performance throughout, before just gently fading after the repetition of the final line.There’s lot to admire here, from the backing vocals on the chorus, through the clever word play making it another of the stand out tracks.
“Out Where The Love Grows” finds us back in autobiographical mode again, telling tales of the wilds of Essex. It is slightly odd hearing a backing that could be set to describe a remote small town in the US, playing out to words describing somewhere but a short hop around the M25 but it works. “The only reason people come here is to drive right through Our main attraction is that there’s nothing much to do” For US performers, a song about escaping their dead end small towns, is almost a rite of passage, Florence takes the contrary view and finds delight in the mundane nothingness.
“Sure we’ve got the Post Office, red box out the front Got a little church, it’s needing a little love So much this place has seen So much of this place in me” It’s a fond portrait of her home village, relishing the quiet and mundane life that it offers, and accepting that it has helped shape her. “Village fete in the summer, Christmas market when it’s cold So long since I’ve been here, feeling it never grows old When you need reminding of who you are This place brings you back like a guiding star”
It has even become the focal point for the villagers to rally round as they fight against a major development that threatens all that Florence has so eloquently described. For an album front loaded with singles, there is always the worry that the second half might tail off a bit, in Florence’s case this is palpably not true, if anything things get better.
“Silly Little Things” opens to jangly guitar work that is the quiet star of the track, cut through by a crisp back beat and pedal steel guitar. It’s a subtle little post break up song, and made all the more powerful for Florence’s small incise observations of the nagging little reminders that she is no longer in a relationship. “Woke up today I was feeling totally fine Ready for a clean slate, want to leave you behind All i wanted was a cup of coffee and get out the door But that stupid pot, don’t know that you’re not Here anymore”
The chorus is delightful with Florence’s phrasing, and lyrics like “You haunt my memories” really bringing home the feeling of constantly being reminded of someone. The ramp up in volume and the well worked clever instrumental fade make this a delight.
In a total change of pace and sound “Forget The Water” sees Florence perform with just her guitar although with the inventive vocal lines, there is much to take for another song of sadness, a woman trapped in a loveless relationship with an alcoholic, she knows she should leave but somehow can’t – “in denial”.
“All those sweet nothing, empty words you said Really mean nothing now but the liquor on your breath Wishing your hands were shaking cos your nervous Now I don’t even know the stranger lying in my bed” My sober eyes can see It’s the only time you miss me”
Beautifully observed, with any number of quotable lines that make this situation believable as it plays out before us. The trail of damage is laid bare “Pulls you under, drags you down Gets into the blood in your veins Holds you under till you almost drown And I’m just slipping away”
“Love Me Then” is a tale of unrequited love, which is a combination of exquisite guitar work matched to the forlorn lyrics of Florence unable to stir the affections of the one she is after.
There is undoubtedly something clunky about the word “Molasses”, it seems the least musical word ever, fortunately though the song it is housed within is so good, with it’s sultry, moody Fleetwood Mac atmosphere, it somehow works.
Lyrically we are thrust immediately into the action. with Florence finding herself once more in a dilemma “Stuck stuck here like molasses, lies Fingerprints on the glasses You tell me that you’ll go You tell me that you won’t I don’t know if I care either way” Strangely the more that Florence protests that she doesn’t know what to do – the answer from afar seems ever clearer “
Don’t know anymore if I even want to play
Cos every time I win you start to change the game
What happened to make you his way?”
The percussion and wailing guitar all work to make a slightly unsettling background and the narcissistic descriptions seem to echo a certain type of male worryingly prevalent in today’s society.”You’re so in love, with the control you have over my mind You’re so involved in your own life, you can’t even see mine So go stay gone, don’t taunt, me anymore” Building to a stunning realisation results in on one of the vocal highlights of the whole record delivered with venom and power.
“I don’t ever want to be the person I was that you made I don’t ever want to be known like I was by your last name” However there’s a certain mournful element to Florence’s vocals in the repetition of the final line
“Stuck stuck here like molasses”
that suggest escape is not about to happen anytime soon The main album closes with “Cut and Run”, arguably the best track of the collection, that sees both Florence and the band seemingly freed of expectations and both give their all on this rocker. It matches verses that crackle with potential excitement over a purring backing with an exploding rocking chorus with both band and singer giving their all. “You’re sweet and you’re charming You’re not disarming
You talk in this intellectual way We met by chance, think I only got in one glance Of your smiling before you drove away Now your messages are in my inbox How do I reply? Can’t seem to remember how I know you talk Just feel like asking why” It leads to the most carefree rocking moments of the album. where the freedom of the playing matches the heady excitement of these opposites attracting.
“What about if baby, what if we just went away
Leave the questions and the answers for another day” It’s
a perfect way to bow out, leaving the audience clamouring for more!! Except …….
For those purchasing the CD, there are a further 4 acoustic tracks to take in. “Whiskey In The Morning” is the tale of someone “drinking away his life”. The lyrics paint someone with very selective tastes with a mix of Whiskey, Brandy, Tequila and Beer making up their daily consumption. however without any context as to why he is in this predicament it seems a little lacking in depth. It is undoubtedly delivered with some gusto which helps elevate it. News of a another cover of “Landslide” might raise a weary eyebrow or two from the UK Americana community as it has become something of a go to in recent years. Florence’s version though, which is slightly slowed and seems to extract something new out of this old warhorse. An unlikely cover from Florence’s live set in the shape of Guns & Roses “Sweet Child Of Mine” makes for an interesting listen, even if does reveal the lyrics to be a little wimpy once separated from Slash’s inimitable guitar line. The final track “Love Me Then” is an acoustic version of the regular album track of unrequited love.
It all makes or a rather splendid package, Florence Sommerville proves herself to be equally at ease whether performing personal close to home songs, or weaving tales of life’s up and downs. She has an insightful eye for a telling observation, and a skill with her vocal phrasing that can enhance any song. Adept at singing heartfelt ballad or letting rip on the occasional rocker – the future looks most definitely promising.