Flook enthusiasts are likely familiar with the band's origins, stemming from the innovative Three Nations Flutes tour masterminded by Becky Morris in 1999, which showcased talents from Ireland, England and Scotland (despite the absence of a Scottish member). In a poetic turn of events, the ensemble has now completed a full circle, with representatives from each of these nations. While Flook has often been considered an Irish traditional band with an exotic twist, the musicians themselves recognise that their musical backgrounds stem from different musical lines and that this has afforded them the freedom to transcend geographical borders and defy categorisation.
As Brian states “There's a lot of fermentation that goes on between our albums, where we are thinking about music that really inspires us. … sometimes it is Hungarian, sometimes it is from Mali. Years ago, someone said to us, why would you record a tune that is from Moldova? You are never going to play it as good as traditional musicians from Moldova. But it never occurred to me that we were trying to play it that good. I think when you are in love with music the judgmental brain just switches off. You feel a tune at a very deep level, and you play it, you want to play it because it is beautiful. And it is not because it is Irish, English, or Scottish.” Patsy's solo venture, The Brightest Path (2014), provides further insight into this ethos. While rooted in tradition, the album also ventures into uncharted territories, exploring the vibrant sounds of jazz and Indian music. This dual commitment to tradition and innovation allows each artist to navigate a realm of hybridity, fostering a space where originality thrives.