Nearly two decades have elapsed since the release of Lungs, commemorated in 2024 with a BBC Proms Symphony of Lungs at the Royal Albert Hall, but Florence + the Machine have only grown more grandiose with each release. Four albums later and we are gifted with Everybody Scream, fittingly released on the 31st of October last year. Co-produced by The National’s Aaron Dessner and IDLES Mark Bowen, the album is fresh with a new perspective while still retaining the beloved gothic magnificence that made Welch a household name. The release was met with glowing reviews, with the “sharp, spiky humour” of the lyrics and the lead singer’s “undoubted melodic facility” being praised by the Guardian.
The weather? Abysmal. The crowd? Immense. There also appears to be a large curtain hanging from the ceiling, embossed with beautifully illustrated flowers and herbs. A stellar performance from opening act Paris Paloma kicked off the evening – while not to my personal taste, her influence on a generation of social media natives is not to be underestimated, nor her ability to command an audience. Her viral hit ‘labour’ sufficiently riles up the audience, enough to carry them through until quarter to nine, when the lights dim and the screaming begins.
Despite having seen her – from a considerable distance - on the Dance Fever tour back in 2023, I hadn’t yet had the opportunity to understand how the singer entrances the crowd and the way she fills the room with merely her presence. No pair of eyes could be ripped away from the willowy red-haired woman, regardless of whether she was sprinting about the stage or standstill in the centre.
The performance is a dazzlingly visual one – on the curtain, lights project shadows of ghostly choir girls screaming, before vanishing into the ceiling to reveal the woman herself, as she bursts into the title track. The movement is mesmerising – the witch choir scream and writhe around their mistress, positioning her as the focal point of the entire spectacle.
The movement is mesmerising – the witch choir scream and writhe around their mistress, positioning her as the focal point of the entire spectacle.
“I hope you’re enjoying [the album]” Welch confesses to a packed arena, “because it took a lot out of me”. Despite the high energy performance, you can understand that – Welch’s softness is introspective, highlighted in ‘Music by Men’ and ‘Buckle’, both significantly stripped back in comparison to the rest of the track list. The questions of legacy linger with the smoke as she closes the show with the fitting final track of the new album ‘And Love’. More like a spell than a song, she raised her hands to the crowd and bowed low, floating into the dark of the backstage followed by her witchy disciples.
As a long (LONG) time fan of the band, the performance was indescribably cathartic. Growing with the music, as albums released alongside personal milestones, it would be an understatement to say that Florence + the Machine have been particularly influential in my life – the concert felt just like coming home.
Weaving a tapestry of old and new, Florence has cemented her legacy and her position among her peers – “up there with the men and the ten other women and the hundred greatest records of all time”. This one really was all hers, something no one can take away.
Charlotte Atkinson, Film Sub-Editor
My experience with Florence + The Machine was truly kinetic, incantatory and phantasmagorical. The night began with the opening act of Paris Paloma. Paloma delivered a strong performance due to her divine vocals, immense storytelling and allowing the audience into her mind. She showed us her inspiration, her identity as an artist, but most importantly, her heart. She was the perfect precursor to Florence: she matched Florence’s airiness, aesthetic and enthusiasm, allowing herself to be both soulful, and powerful.
She showed us her inspiration, her identity as an artist, but most importantly, her heart.
The main event of the night, Florence + The Machine created an awe inducing scene before their performance even began. Upon entering, you see a breathtaking illuminated orange cloak that makes the stage from floor to ceiling, evoking a warmth much like a lantern on a cold winter’s day. When Florence’s set began it cascaded down to reveal the woman herself, spotlighted, shining and emotionally raw.
While Paloma’s stage presence was good, Florence cannot be beaten, it was marvelous and expansive. It made the audience genuinely feel like she was next to them as her energy spread out amongst the crowd, which is rare for an arena of its size.
A personal highlight of the night was definitely some of her more acclaimed songs such as ‘Dog Days Are Over’ and ‘Spectrum’. These iconic tracks allowed the crowd to become one with unified lyrics, strong emotions and an orchestral grandeur that filled the arena.
This night was a true blessing. To be in a room with such a brilliant artist, not only due to her angelic voice, but the warming community she has cultivated. She created a night to remember for Newcastle Utilita - A night of whimsical teenage fun.
Trey Halliday