London-based vocalist and composer Rowan Flack returns with her third EP ‘Nap on the Sofa’, continuing her exploration of contemporary European jazz through a lens of intimacy and storytelling. With a musical journey that spans the BRIT School, Trinity Laban, and Norway’s Edvard Grieg Academy, Flack brings a rich and nuanced perspective to her songwriting, shaped by international influences and a deep-rooted connection to both jazz and folk traditions.
Opening with the delicate ‘Make Me Whole’, the EP unfolds with a soft, dreamlike quality before easing into its title track, a tender and quietly playful reflection on modern romance, elevated by an expansive piano solo and the natural chemistry of her band. Closing track ‘Tipsy’ adds a more textured, introspective edge, blending jazz, folk, and subtle pop elements to explore emotional duality and the unpredictability of life.
Recorded alongside a group of accomplished musicians from across London, Bristol, and Ireland, the project captures a live, conversational energy that mirrors her onstage presence. With growing recognition from outlets such as Jazzwise, Jazz FM, and Notion, she continues to carve out a distinctive space within the UK’s evolving jazz landscape.
We caught up with Rowan Flack to discuss the inspiration behind ‘Nap on the Sofa’, and how her journey across scenes and countries continues to shape her sound.
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Can you tell us a bit about your background and how you got started in music?
I’m a jazz-folk vocalist currently based in London. I grew up in Brighton and was always writing songs on the piano and an old guitar, taking any opportunity to perform. I was very lucky to get a place at The BRIT School, where I started doing tiny gigs. I remember performing at the Brighton Fringe Festival when I was about 14. Social media wasn’t really a thing, and it didn’t occur to me that I actually had to promote the show. I played in this huge tent to literally one person. Those are definitely the experiences that shape you.
I went on to study jazz at Trinity Laban Conservatoire and later folk and jazz at the Edvard Grieg Academy. I now release music with the independent label Pretty Decent Music, alongside working in radio with One Jazz and BBC Radio 3. I also mentor students at ELAM (East London Arts and Music).
Who are your biggest musical influences and how have they shaped your sound?
Jan Garbarek, Kamasi Washington, Rita Payés, Astrud Gilberto, and Gretchen Parlato are all huge influences. I love the soft but rhythmic vocal sound of Gilberto, Payés, and Parlato, the vocal-like, yearning quality in Garbarek’s compositions, and the powerful live drum sound of Kamasi Washington.
Working in radio also plays a big role. It’s my job to listen to a huge range of music, and I think I subconsciously absorb ideas and inspiration that shape my own sound.
Was there a specific moment or experience that made you decide to pursue music seriously?
I don’t think there was one defining moment. It’s always been in me to create and develop ideas, whether through writing, composing, performing, or improvising. It was never really a question of if I’d do it, but how. I’ve been tinkling on the piano for as long as I can remember, even before I was playing actual songs.
Can you walk us through your typical songwriting process?
I usually start with a chordal idea at the piano, improvising melodies with my voice until something clicks. It doesn’t feel like lyrics and harmony are separate; they come together naturally through improvisation.
If I don’t yet hear a specific bassline or drum groove, I’ll write out a lead sheet and then develop the arrangement with my band: Jack Lecomber, Rob Dimbleby, Andrew McCoubrey, and Celeste Cantor-Stephens.
How do you find inspiration for your music and lyrics?
Often through nature—cold winters, clear blue seas, greenery. If I’m in that kind of environment, I can write a song in under ten minutes. I tend to use imagery to express more personal themes; whatever I’m experiencing at the time tends to filter into the writing.
What themes or messages do you hope listeners take away from your music?
A lot of my music explores taking time to understand situations, whether that’s communication, loss, or the gentle rhythms of long-term relationships and how they evolve.
I’m not necessarily trying to make listeners immediately relate to the lyrics. It’s more about sitting with the music and perhaps recognising something within themselves over time. I’m constantly exploring identity, both musically and personally, and building a sense of self-awareness.
What challenges have you faced as an emerging artist in the music industry?
Finding where my sound fits has probably been the biggest challenge. I think of myself as a jazz vocalist, but I don’t write standards in the traditional sense. I used to separate original gigs from Great American Songbook shows, but I’ve learned to bring it all together as it all comes from the same place. At the core, I’m a jazz composer and improviser who’s drawn to folk storytelling.
What has been the most rewarding aspect of your musical journey so far?
Two shows really stand out. The first was my EP launch at Underlig in Norway for New Light Dwelling, where we sold out a 300-capacity venue. I couldn’t believe it.
The second was my most recent release show for Nap on the Sofa at The Crypt in Camberwell. We performed material from all three EPs alongside folk songs and jazz standards, and everything felt cohesive. That gave me a real sense of personal achievement.
How do you stay true to yourself and your artistry in a constantly evolving industry?
Staying grounded is the most important thing for me. I limit my time on social media and focus on things that support my wellbeing—meditation, yoga, running, and Pilates. I need to feel rested and healthy to make space for a constant flow of creativity. That said, I’m still up for a late-night dance.
Keeping up with releasing music in the current industry requires a lot of planning and development—coming up with new ideas for live shows, collaborations, and future releases. Having the right mindset helps me stay focused, consistent, and avoid outside noise.
What can fans expect from you in the near future? Any upcoming projects or tours?
We’re currently working on more live dates across the UK this summer.
Where do you see yourself and your music career in the next five years?
Writing more music and travelling to new places to perform live. I love that my work spans both radio and music, so I see myself continuing to freelance, develop new ideas, and create across both worlds.
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Listen to Rowan Flack’s new EP ‘Nap On The Sofa’ below.
