Needing to make ends meet, a recovering alcoholic’s sobriety is tested when she returns to bartending at her father’s tavern.

You don't have to say her sobriety is tested, because you've established she's a recovering alcoholic working at at bar?the conflict is inherent to the situation. Which is good thing, to have that conflict present - you just don't need to overstate it.

I find it's better, most of the time, to start with the protagonist, then define the conflict, the stakes, and the antagonist. It usually flows better, whereas starting with an issue and then mentioning a person feels a bit choppy. Perhaps something more like this:

"A recovering alcoholic finds herself unemployed, and returns home to tend bar at her ailing father's tavern."

Unemployed = needing to make ends meet, but is shorter and more immediate: we get that she doesn't have many options. I added "ailing" in response to other comments regarding why she would need to tend bar vs. another type of job, and why for her dad. I don't know if that fits your story, but it's one word and explains a lot.

"If you want to change your life, you have to change your friends."

I think part of the temptation would be she begins hanging out with her old friends who were a bad influence.

Desperate economic circumstances compel desperate actions. If the the major throughline is the struggle to remain sober while serving up her favorite addicting drug, why does it have to be at her father's tavern? It could be any tavern. But if the throughline centers around another character flaw and/or skeletons in the family closet...

Who is the protagonist? What is the central subjective problem the woman has to deal with?