After the touring the UK in 2014, All Saints resolved to do something they never thought they would again, and wrote, recorded and produced a new record. It was not made without massive prior consideration. “We didn’t force ourselves into this situation,” says Natalie, “and it couldn’t have happened at a better time in all of our lives. I just missed being with the girls. It makes us happy. Listen, if you can work with your favourite people, then why not? I have such a good time and I spend more time laughing and having fun than I do working.” “The album,” says Shaznay, “could have been made a lot quicker if we’d spent less time joking around while making it.” “Seriously,” says Shaznay, “I got on such a roll writing and recording with the Girls again, we’ve started getting material for the next album together already. This couldn’t feel any more right.” As they turned from their teens to their twenties, All Saints were the symbolic British girl-band gateway to the new millennium. They were an irrepressible, immediately identifiable gang that would mascot us through to the 21st century. With music touched by a panoply of sharply honed influences, from The Shirelles through 90s hip hop, disco, slouchy club electronica and touched all over with the proximity the women grew up to Notting Hill Carnival, they were the flip-side of the tween-pop sound of their peers. Now 19 years after their debut instruction, against several striking odds, All Saints know exactly where it’s at again.