Flo Moore was born in Aylesbury, Buckinghamshire and began playing bass aged 9 in several local jazz bands, including the award winning Aylesbury Music Centre Dance Band. She went on the study jazz at the Royal Academy of Music in London, graduating in 2015 with a BMus 1st class honours degree and a Regency Award for consistently high achievement, and has since been made an associate (ARAM). Flo continues to be an active freelance/session player on the UK jazz scene.

Flo has played with Jordan Rakei, Alfa Mist, Keaton Henson, Jason Rebello (Sting), Hugh Harris (The Kooks), Drew MacFarlane (Glass Animals), Judi Jackson, Damian Lewis, Cherise, Quinn Oulton, Dizraeli, Kansas Smitty’s, Richard Spaven and Yazz Ahmed among many others. She has played in West End shows such as Book of Mormon, Six and the National Theatre’s ‘Hex’, and was previously a member of award winning bands Ezra Collective and Nerija.

She has played at venues such as the 02 Academy Brixton, Royal Albert Hall, North Sea Jazz Festival, Barbican, National Theatre, Ronnie Scott’s Jazz Club, Blue Note Milan, Royal Festival Hall, Queen Elizabeth Hall, Sage Gateshead, Birmingham Symphony Hall, Cadogan Hall and National Concert Hall Dublin, and toured across Europe, Australia and New Zealand with various artists. 


Flo has played on numerous albums and sessions at studios including RAK, BBC Maida Vale, Air, Real World, Metropolis, Soho, Konk, Lightship 95 and Livingstone. Recording highlights include tracks featuring Simon Phillips, Frank Gambale, Chad Wackerman, Dean Brown and Barry Finnerty, as well as working with Grammy award winning producer Jason Miles (Chaka Khan, Miles Davis) on two albums. She has also recorded/filmed tracks for BBC Radio 1, Radio 2 and BBC6 Music.

‘Moore takes the lead on Waltz For Last Year which reveals her to be a spectacularly articulate bassist’ – Roger Farbey, Jazz Journal

‘…her melodic thumb and finger picked soloing on five string electric bass sometimes reminiscent of the great Steve Swallow’ – Ian Mann, the jazzman.com

‘…but who wouldn’t feel liberated against Moore’s rock-solid time keeping’ – Andy Robson, Jazzwise