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Florence + The Machine  

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Florence Welch is the lead singer and frontwoman of the indie band Florence + The Machine, formed in South London, UK, in 2007.

Known for a unique and dreamy blend of folk, art-pop, indie rock, and neo soul, as well as her stirring and ethereal live performances, Welch has been likened to artists such as Adele, Amy Winehouse, and Ellie Goulding.

Florence + The Machine is a band composed of Welch, pianist Isabella Summers, Robert Ackroyd (guitar), Tom Monger (harp), Mark Saunders (bass), and a rotating cast of other artists. Welch credits her bandmates with helping unlock her creative process, as they have been so tuned-in to each others’ musical abilities for so long that they naturally know what she’s hoping for in each new song.

The band’s name came from Welch’s teenage years, when she collaborated with Isabella “Machine” Summers. For a while, the two performed as Florence Robot/Isa Machine — a private joke that eventually stuck in slightly altered form.

With huge encouragement from the BBC, Florence received early critical acclaim and attention from UK audiences as BBC Music Introducing strongly promoted the band. The band’s debut album, Lungs, was released on July 6, 2009, and reached the number two slot in the UK Album Chart, retaining the position for five consecutive weeks. It finally reached the number one position on the album chart on January 17, 2010. By October 2010, Lungs had spent a total of 65 consecutive weeks in the top 40 album charts.

Notable singles from the album included “Rabbit Heart (Raise It Up),” “Kiss With A Fist,” and “Dog Days Are Over,” with the songs being featured on films and television series like Jennifer’s Body, 90210, Gossip Girl, Glee, and Skins.

Undoubtedly, the biggest hit single released from Lungs was the cover of The Source and Candi Staton’s 1986 single “You’ve Got The Love.” The track was later also released in collaboration with UK grime rapper Dizzee Rascal under the title, “You’ve Got The Dirtee Love,” following Welch and Dizzee’s 2010 Brit Award performance of the mash-up.

The band’s second studio album, Ceremonials, was preceded by a demo session in January 2010 at a small studio in London. Several producers vied for the chance to produce it, but Welch rejected their offers because she was after a new sound: something darker, heavier, more explosive, and grittier. The band had the rest of the year to work sporadically on the music, since they were out on the road touring heavily.

When the group did record, it happened between January and April 2011 at Abbey Road Studios with producer Paul Epworth, who co-wrote seven of the album’s tracks. Other co-writers included Kid Harpoon and Summers. Welch had to record many of the vocal tracks in various U.S. studios between shows on her tour.

Ceremonials featured singles “Shake It Out” and “What The Water Gave Me,” with the latter video receiving an outstanding 1.5 million views on YouTube in just two days alongside the track on iTunes in August 2011. The fourth single for the album, a remix of “Spectrum (Say My Name)” by Scotland’s Calvin Harris, became the band’s first number-one hit in the UK.

Unsurprisingly, Ceremonials reached number one on the UK Album Chart and number six on the U.S. Billboard 200. Furthermore, Florence + The Machine was honored with nominations for two Brit Awards: British Album of the Year and Best British Female Artist.

2012 was a year of rest for Florence + The Machine after having gone all out for the past half-decade. By the end of December 2012, Ceremonials had received a nomination for Best Pop Vocal Album.

In June 2014, Welch revealed that the band was working on its third studio album. Seven months later, the band performed the new album in its entirety to a crowd in a private London show. The next day, a music video for the title track, “How Big, How Blue, How Beautiful,” dropped, followed by another video for the song “St. Jude.”

When How Big, How Blue, How Beautiful finally dropped on May 29, it rose to the number-one spot on the UK Albums Chart — the band’s third time enjoying the honor — and hit number one on the U.S. Billboard 200. It was nominated five times for the Grammys. That year, the band headlined Glastonbury Festival, and its set received critical acclaim from a number of outlets. In 2016, Florence and the Machine released a short film called The Odyssey, which combined all of the album’s music videos into one narrative structure.

May 2017 saw an announcement of yet another studio album, High as Hope. During this period, then-drummer Christopher Hayden left the band, but the music didn’t stop: singles like “Sky Full of Song” and “Hunger” came in April and May of 2018. Florence + The Machine stayed busy with tours and song-crafting through the beginning of the COVID-19 pandemic, when it released “Light of Love” to support the Intensive Care Society.

By early 2022, the band was back on the road, headlining festivals like Madrid’s Mad Cool. The band’s fans began receiving letters with a cryptic print entitled “King – Chapter 1,” which led to speculation of a new single. Welch confirmed the rumors on February 22 on her Instagram account. “King,” the new single, came out the next day along with a music video. “Heaven Is Here” followed on March 7. Dance Fever, the fifth studio album, was released on May 13 and immediately shot to the number-one spot in the UK.

Live reviews

Only a few hours after I wrote about Hozier performing one of the most intimate sets I had ever experienced at Red Rocks, Florence Welsh completely redefined the word ‘intimacy’. The 28-year-old vocalist of Florence + the Machine had been photographed in meltdown mode at the Montreal airport just days prior, so it came as no shock when she decided do to something a little different on the last date of her current tour. Welsh has been pretty honest about her personal challenges with the road. She’s described feelings of loneliness and exhaustion that border on depression. I’m sure she found solace in the fact that her vocal chords held strong this time around (she damaged them not long before her Red Rocks show in 2012), but she seemed slightly unraveled by the time she took the stage for a special acoustic set on Monday night.

Large scale performances and frayed nerves usually equal disaster, but as Florence’s emotions danced around her windswept red curls, she used her sweet sorrow to create an air of melancholy that infected the crowd during her stripped-down set. The audience gained another ounce of empathy with each breath…thus absorbing her sadness and eradicating any loneliness she might have been feeling. The science was exact, so by the time the 12-piece ensemble went into full effect for ‘the electric era’, we had become her friends, her confidants, and her choir. The collective energy was enough to bring the rocks crumbling down on our heads, but lucky for us (and the City of Denver) Florence held things together with the pure power of voice. There wasn’t a cloud in the sky during the entire set, but this season has seen its fair share of strong weather, and Florence + the Machine gave every drop of rain, gust of wind and bolt of lightning a run for its money. The calm before the storm just made the storm that much stronger. - See more at: http://ilistensoyoudonthaveto.com/2015/08/06/florence-the-machine-red-rocks-08-03-15/#sthash.nrdxF7Aq.dpuf

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Florence + the Machine are a power force in the UK indie scene who have conquered both sides of the Atlantic since their rise to fame following the release of 'Lungs'. Led by the charismatic and eccentric Florence Welch, the band has a reputation as one of the most exciting and energetic live acts currently working today.

As the thunder begins to roll, the machine appears onstage followed by a majestic looking Florence who confidently takes the helm and launches into the all-consuming 'Only If For A Night'. The haunting 'What The Water Gave Me' follows as Florence lifts her hands to the heavens and the audience cheer below her feet.

Before you have time to react, Florence abandons the facade of a renaissance painting brought to life and has launched herself from the stage to sing and dance 'Rabbit Heart' with the crowd. Her vocals shine through on the soulful 'Leave My Body' as she stands illuminated by a single spotlight and the restraint shown during early single 'Cosmic Love' make for an emotive moment. The finale of 'Spectrum' is a hedonistic piece of dark disco where the crowd surrender themselves to Florence's bizarre world.

Despite only having released their debut in 2009, Florence + the Machine have crafted a live show that is less a gig and more an all-consuming assault on the senses.

Florence Welch has one of the most distinctive voices of this era, and the indie rock band in which she is the lead singer is carried by this timeless vocal performance time and time again.

Opening her concert with ‘You’ve Got the Love’, Florence finds the perfect balance between a classically lyrical performance, and enthusiastic and upbeat. The blend of the band is something that comes across to the audience much more pronounced in a live performance environment. Throughout their transitions between ballads and energetic upbeat songs, they maintained their engagement with the audience, having them hooked for the entire duration. Their stamina is worth noting, as throughout the concert, their performance, both physical and vocal did not dwindle at all. The live performance topped their studio recordings.

Their 2010 nomination for Best New Artist at the Grammys was wholeheartedly deserved. Their dedication to their fans is admirable, and their endeavours to make each concert about every member of the audience is something very refreshing. Florence and the Machine set the bar extremely high for live performances, making no mistakes and topping the quality of their recorded work.

I've waited several years for Florence + The Machine to play an intimate gig near me. Suddenly, on April26th 2018 SONGKICK emailed to say just such a gig was on at Scunthorpe Baths Hall on May6th ! Wow!

Applied online via Baths Hall website, & so pleased tickets limited to 2 per person, we were all in with a chance... Feel so, so lucky to get 2x Standing, the perfect way to see her and the band. My daughter Susie & I went: she couldn't believe our good luck either.

Venue was perfect. I'd researched the playlist from Halifax, May5th, visited the old numbers + checked out the new ones, too, so I felt prepared... but I wasn't: I'd expected the atmosphere to be up close and personal, but it was so much more.

Florence hit the stage & wow! Perfect blend of old/ new, a very balanced set from a hugely professional outfit. Florence was so open & warm giving background to several numbers. She floated, danced, teased and enthralled her adoring audience. We didn't want it to stop: so much pleasure was being shared. Her voice is incredible, it blends with the music so very well. Truly, we are blessed !

An electric show of epic proportions.

While I was expecting to hear more from the upcoming album, I was still delighted to hear all of the classics as well as a few new ones. This was my first time seeing FATM live, and they most certainly didn't disappoint. Florence's vocals were so omnipotent and sharp, and the same if not better than what you hear on the record. Her free as a bird movements and seemingly infinite pool of energy were wondrous to behold. I enjoyed her interaction with the crowd as well, she seemed to bring a life to her audience that I've never seen other live artists do, personally.

The only downsides might have been to do with the venue, which took too long to get everyone seated, also there wasn't much room between people so it was all rather cramped. And the supporting act, which I didn't particularly enjoy nor could I understand very well. But those things have nothing to do with Florence + The Machine personally, so it doesn't reflect on them negatively whatsoever.

Overall, an enjoyable experience that I would repeat in a heartbeat.

I definitely recommend that you go and see Florence and The Machine if they come to your city! They are such an amazing band and they sound as good live as they do on their albums. Florence has so much stamina and tirelessly runs around onstage from side to side, looking into the eyes of as many people as she possibly can. Highlights of her show in Manchester this year were 'Rabbit Heart (Raise It Up)' when she encouraged people to get on their friend's shoulders and she ran offstage and up the steps into the lower tier seating! 'Dog Days Are Over' was a perfect finale that ended with many people leaving the concert with very little clothing on! The stage was minimal but dramatic, with a huge sparkling background, rows of spotlights and a large round moon and sun that came out from behind the background during the middle of the show. Definitely go and see them if you get the chance, you won't regret it! They're worth every penny.

Florence + The Machine @ Manchester Arena

Friday 18th September 2015

10/10. Her voice sounds the same live as it does recorded. She was a crazy ball of energy dancing and running around every inch of the stage in a flowing dress and long hair. Florence even went into the crowd on several occasions to directly connect with people (much to the dismay of her security). Her commentary between songs majorly enhanced the performance as she is adorably shy and has the most calming ethereal presence- which basically means she is a massive hippie. She encouraged everyone to hold hands and embrace and put our phones away and jump wildly with her. Her band were also excellent and the staging- white sheets, almost like sails, hanging from the ceiling which were raised up and down and had lights shone on them- and the gorgeous glitter confetti which dropped at the end added to the magical experience. Next time I will be waiting for hours before to get to the front row!! Could not recommend more!!

This was the best concert I have ever been to. That is being said after seeing a lot of them. She has so much energy, and conects to the crowd so well.

A lady had jumped on to the stage while Florence was performing 'Rabbit Heart' and the security guard went after her. Florence stopped him politely, then gave the lady a big hug. Music continued on to add to the theme of her kindness. She then went on to run through the crowd, and hug a bunch of people. She ran around, then sang a note so clearly as if she hadn't moved a step. She even asked to have every one stand up and dance which was great, because where I live, people have the tendency to just sit and watch at concerts like that. I had a blast - danced my heart out to every song, and felt as if I was on some sort of high due to the energy that she sent through the crowd. I am going to see her every time she comes to town now. For sure.

What can I say? What a fantastic evening. We got to Ally Pally really early to be one of the first in....we weren't first!. Despite the heavy rain loads of people were in the line before us. The doors opened and we all entered. Luckily, we were able to get into the hall quickly, resulting in us being centre stage, 5 from the front.

We waited and waited, feet getting tired. The support band (Three girls from Watford) came on. They were awesome.

Finally,, the moment arrived, with Flo coming on stage. The concert started with 'What the Water Wants'....it just got better and better. The whole audience were enthralled. The audience sang along to every song. The atmosphere was electric. What a talented lady and group of musicians. I go to loads of gigs and concerts. I was looking forward to seeing FTM the moist and she didn't disappoint.

The concert was awesome.

Florence Welch's presence on stage is unbelievable, her voice is more powerful than in their CDs, and she dances and sings with a lot of passion.

The concert started with "What the water gave me", and it made clear that it was going to be very good. The band has a lot of great songs, and the concert was great from start to end.

One of the best moments was when, while performing "Dog days are over", Florence asked everyone to hug each other, then to take something off and wave it in the air, and to jump as high as we could on a count of three. Everyone was jumping and dancing, and the energy that the crowd, Florence and the song transmitted was huge.

Florence and the Machine´s fans shouldn´t miss the oportunity to go to one of their concerts.

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Florence and the Machine Announce 2022 North American Tour

By Allison Hussey

Florence and the Machine have announced a North American tour that picks up in September. Arlo Parks, King Princess, Sam Fender, Yves Tumor, Japanese Breakfast, and Wet Leg are all set to take opening slots in different cities. See the full schedule below.

Earlier this month, Florence Welch announced Dance Fever , her first new album since 2018’s High as Hope . She’s shared three singles from the album so far: “ My Love ,”“Heaven Is Here,” and “ King .” Welch co-produced Dance Fever with Jack Antonoff and Glass Animals’ Dave Bayley, and the album arrives on May 13.

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Florence and the Machine:

04-29 Los Angeles, CA - Los Angeles Theatre 05-06 New York, NY - Alice Tully Hall at Lincoln Center 09-02 Montreal, Quebec - Place Bell * 09-03 Toronto, Ontario - Budweiser Stage * 09-07 Chicago, IL - Huntington Bank Pavilion at Northerly Island † 09-08 St. Paul, MN - Xcel Energy Center † 09-10 Clarkson, MI - Pine Knob Music Theatre † 09-12 Washington, D.C. - Capital One Arena † 09-14 Boston, MA - TD Garden † 09-16 New York, NY - Madison Square Garden † 09-20 Nashville, TN - Ascend Amphitheater ‡ 09-21 Alpharetta, GA - Ameris Bank Amphitheatre ‡ 09-23 Orlando, FL - Amway Center ‡ 09-24 Miami, FL - FTX Arena ‡ 09-27 Austin, TX - Moody Center § 09-28 Irving, TX - The Pavilion at Toyota Music Factory § 10-01 Denver, CO - Ball Arena  10-04 Vancouver, British Columbia - Rogers Arena # 10-06 Seattle, WA - Climate Pledge Arena % 10-07 Portland, OR - Theater of the Clouds # 10-09 Mountain View, CA - Shoreline Amphitheatre % 10-12 San Diego, CA - Cal Coast Credit Union Open Air Theatre % 10-14 Los Angeles, CA - Hollywood Bowl

* with Arlo Parks † with Sam Fender ‡ with King Princess § with Yves Tumor # with Japanese Breakfast % with Wet Leg

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Arlo Parks, Sam Fender, King Princess, Yves Tumor, Japanese Breakfast and Wet Leg will join as support on select dates.

Published on

Florence + the Machine are set to play an extended run of North American headline dates later this year, kicking off September 2 in Montreal with further stops including New York’s Madison Square Garden, Los Angeles’ Hollywood Bowl and many more. One dollar from every ticket sold will benefit Choose Love to aid refugees worldwide.

Arlo Parks, Sam Fender, King Princess, Yves Tumor, Japanese Breakfast and Wet Leg will join as support on select dates throughout the tour. See full routing below and visit Florence + The Machine’s official site for further information.

American Express Card Members can purchase tickets in select markets before the general public beginning Tuesday, March 29 at 10am local time through Thursday, March 31 at 10pm local time.

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The tour will celebrate the release of Florence Welch’s forthcoming, highly anticipated fifth album Dance Fever , out on May 13 . Florence has shared three songs from the album—“My Love,” “King” and “Heaven is Here” – all of which arrived alongside videos by the acclaimed director Autumn de Wilde with choreography by Ryan Heffington.

Additionally, Florence will play two very special, intimate shows this spring: April 29 in Los Angeles at the Los Angeles Theatre and May 6 at Lincoln Center’s Alice Tully Hall in New York—both shows sold out in seconds.

Dance Fever was recorded in London over the course of the pandemic in anticipation of the world’s reopening. It conjures up what Florence missed most in the midst of lockdown—clubs, dancing at festivals, being in the whirl of movement and togetherness—and the hope of reunions to come.

Just before the pandemic Florence had become fascinated by choreomania, a Renaissance phenomenon in which groups of people—sometimes thousands—danced wildly to the point of exhaustion, collapse and death. The imagery resonated with Florence, who had been touring nonstop for more than a decade, and in lockdown felt oddly prescient.

The image and concept of dance, and choreomania, remained central as Florence wove her own experiences of dance—a discipline she turned to in the early days of sobriety—with the folkloric elements of a moral panic from the Middle Ages. In recent times of torpor and confinement, dance offered propulsion, energy and a way of looking at music more choreographically.

Starting, as ever, armed with a notebook of poems and ideas, Florence had just arrived to New York in March 2020 to begin recording when Covid-19 forced a retreat to London. Holed up at home, the songs began to transform, with nods to dance, folk, ‘70s Iggy Pop , longing-for-the-road folk tracks a la Lucinda Williams or Emmylou Harris and more, ultimately arriving somewhere that Florence describes as “Nick Cave at the club.” Lyrically, she took inspiration from the tragic heroines of pre-Raphaelite art, the gothic fiction of Carmen Maria Machado and Julia Armfield, the visceral wave of folk horror film from The Wicker Man and The Witch to Midsommar .

Dance Fever is an album that sees Florence at the peak of her powers, coming into a fully realized self-knowledge, poking sly fun at her own self-created persona, playing with ideas of identity, masculinity and femininity, redemption and celebration.

Pre-order Dance Fever .

FLORENCE + THE MACHINE NORTH AMERICAN TOUR DATES:

April 29: Los Angeles Theatre, Los Angeles, CA May 6: Alice Tully Hall at Lincoln Center, New York, NY September 2: Place Bell, Montreal, QC September 3: Budweiser Stage, Toronto, ON September 7: Huntington Bank Pavilion at Northerly Island, Chicago, IL September 8: Xcel Energy Center, St. Paul, MN September 10: Pine Knob Music Theatre, Clarkson, MI September 12: Capital One Area, Washington, D.C. September 14: TD Garden, Boston, MA September 16: Madison Square Garden, New York, NY September 20: Ascend Amphitheater, Nashville, TN September 21: Ameris Bank Amphitheatre, Alpharetta, GA September 23: Amway Center, Orlando, FL September 24: FTX Arena, Miami, FL September 27: Moody Center, Austin, TX September 28: The Pavilion at Toyota Music Factory, Irving, TX October 1: Ball Arena, Denver, CO October 4: Rogers Arena, Vancouver, BC October 6: Climate Pledge Arena, Seattle, WA October 7: Theater of the Clouds, Portland, OR October 9: Shoreline Amphitheatre, Mountain View, CA October 12: Cal Coast Credit Union Open Air Theatre, San Diego, CA October 14: Hollywood Bowl, Los Angeles, CA.

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Florence + The Machine Announce North American Tour: See The Dates

By Katrina Nattress

March 28, 2022

Florence + The Machine are gearing up to release their latest album Dance Fever on May 13, and a few months later they'll be touring North America in support.

After a pair of “special, intimate shows” on April 29 in Los Angeles and May 6 in New York, Florence Welch and company plan to head back to North America in September, beginning their trek on September 2 in Montreal and wrapping up October 14 in LA. Arlo Parks, Sam Fender, King Princess, Yves Tumor, Japanese Breakfast and Wet Leg will support on various dates, and one dollar from every ticket sold will benefit  Choose Love  in its mission to aid refugees worldwide.

Tickets go on sale Friday (April 1) at 10am local time. Get more info at Florence + The Machine's official website , and check out the announcement plus a full list of dates below.

Dance Fever North America 🌕✨ With support from @arloparks , @samfendermusic , @wetlegband , @KingPrincess69 , @Jbrekkie & @YvesTumor on selected dates. See poster for full details.🩸🫀 General sale Fri April 1st, 10am local. $1 from every ticket sold will be donated to @chooselove pic.twitter.com/4jKxJK9DT3 — florence welch (@florencemachine) March 28, 2022

Florence + The Machine North American Tour Dates

April 29 Los Angeles Theatre Los Angeles, CA

May 6 Alice Tully Hall at Lincoln Center New York, NY

September 2 Place Bell Montreal, QC*

September 3 Budweiser Stage Toronto, ON*

September 7 Huntington Bank Pavilion at Northerly Island Chicago, IL†

September 8 Xcel Energy Center St. Paul, MN†

September 10 Pine Knob Music Theatre Clarkson, MI†

September 12 Capital One Area Washington, D.C.†

September 14 TD Garden Boston, MA†

September 16 Madison Square Garden New York, NY†

September 20 Ascend Amphitheatre Nashville, TN‡

September 21 Ameris Bank Amphitheatre Alpharetta, GA‡

September 23 Amway Center Orlando, FL‡

September 24 FTX Arena Miami, FL‡

September 27 Moody Center Austin, TX§

September 28 The Pavilion at Toyota Music Factory Irving, TX§

October 1 Ball Arena Denver, CO

October 4 Rogers Arena Vancouver, BC**

October 6 Climate Pledge Arena Seattle, WA††

October 7 Theater of the Clouds Portland, OR**

October 9 Shoreline Amphitheatre Mountain View, CA††

October 12 Cal Coast Credit Union Open Air Theatre San Diego, CA††

October 14 Hollywood Bowl Los Angeles, CA

*with Arlo Parks

†with Sam Fender

‡with King Princess

§with Yves Tumor

**with Japanese Breakfast

††with Wet Leg

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Florence + the Machine Unveil 2022 Tour With Awesome Support Acts: Wet Leg, Arlo Parks, Japanese Breakfast, More

By Jem Aswad

Executive Editor, Music

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Florence + the Machine are set to play an extended run of headline dates later this year, kicking off September 2 in Montreal with further stops including New York’s Madison Square Garden, Los Angeles’ Hollywood Bowl and many more. One dollar from every ticket sold will benefit  Choose Love  to aid refugees worldwide.

The group has assembled a formidable array of up-and-coming support acts at select dates on the tour: Arlo Parks , Sam Fender, King Princess, Yves Tumor, Japanese Breakfast and Wet Leg will join as support on select dates throughout the tour. See full routing below.

American Express card members can purchase tickets in select markets before the general public beginning Tuesday, March 29 at 10am local time through Thursday, March 31 at 10pm local time.

The tour will be behind the group’s forthcoming fifth album “ Dance Fever ,” out May 13.  The album was produced by Florence Welch with Jack Antonoff and Dave Bayley of Glass Animals.

Additionally,  Welch will play two intimate shows this spring: April 29 in Los Angeles at the Los Angeles Theatre and May 6 at Lincoln Center’s Alice Tully Hall in New York.

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According to the announcement, Choose Love works to provide refugees and displaced people with everything from rescue boats to food and legal advice. Their work has reached over 1.8 million people and supported over 250 fast-acting community organizations across Europe, the Middle East and along the US-Mexico border.

April 29                                                Los Angeles Theatre                                  Los Angeles, CA

May 6                                        Alice Tully Hall at Lincoln Center                          New York, NY

September 2                                                  Place Bell                                              Montreal, QC*

September 3                                            Budweiser Stage                                          Toronto, ON*

September 7                     Huntington Bank Pavilion at Northerly Island                    Chicago, IL†

September  8                                          Xcel Energy Center                                       St. Paul, MN †

September 10                                   Pine Knob Music Theatre                                  Clarkson, MI†

September 12                                          Capital One Area                                 Washington, D.C.†

September 14                                               TD Garden                                               Boston, MA†

September 16                                    Madison Square Garden                                New York, NY†

September 20                                      Ascend Amphitheater                                    Nashville, TN‡

September 21                                  Ameris Bank Amphitheatre                             Alpharetta, GA‡

September 23                                            Amway Center                                            Orlando, FL‡

September 24                                               FTX Arena                                                  Miami, FL‡

September 27                                            Moody Center                                               Austin, TX§

September 28                         The Pavilion at Toyota Music Factory                             Irving, TX§

October 1                                                     Ball Arena                                                  Denver, CO

October 4                                                   Rogers Arena                                      Vancouver, BC**

October 6                                            Climate Pledge Arena                                       Seattle, WA†

October 7                                             Theater of the Clouds                                   Portland, OR**

October 9                                           Shoreline Amphitheatre                        Mountain View, CA†

October 12                           Cal Coast Credit Union Open Air Theatre                  San Diego, CA†

October 14                                              Hollywood Bowl                                     Los Angeles, CA

*with Arlo Parks

†with Sam Fender

‡with King Princess

• with Yves Tumor

**with Japanese Breakfast

††with Wet Leg

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Florence Welch on Sobriety, Embracing Loneliness and Loving Patti Smith

By Kory Grow

It’s the day before Florence Welch embarks on the North American leg of her current tour, and she’s making the most of her time in Vancouver. This morning, strangely, she went to a museum exhibit that was all about cabins. “I grew up with a Little House on the Prairie fetish,” she explains with an embarrassed laugh. “I was obsessed. I lived in South London, so there were no prairies. I had a little dress, and I remember laying a ‘river’ of towels down and my bunk bed was the log cabin. My mother was like, ‘What are you doing?'” She laughs harder.

In conversation, Welch is much more lighthearted than she is in song. The lyrics of her latest Florence and the Machine album — the ornate and intimate pop opus, High as Hope — read like diary entries. In its 10 songs, she tackles eating disorders, meeting people on ecstasy and finding the middle ground between happiness and depression. But off the mic, the auburn-haired 32-year-old, speaks in a lilting soprano, laughs plenty and has an endearing self-effacing quality that you might not expect from a multiplatinum artist. She’s four years sober, she’s managing her social anxiety as best she can and she considers herself strong even when her lyrics suggest otherwise.

She even thinks she could make a go of cabin life. “I could if I had my phone,” she says, laughing. “I think the whole point is that you don’t have a phone, but weirdly I did have an ex-boyfriend who was like, ‘I think that you would be pretty good at survival. You have a weird dogged determination.’ I’m afraid of lots of things. When it comes to actually being really scared, I have a strange bravery.”

What are your biggest fears? I’m afraid of flying. There have been so many kind stewardesses who have held my hand during turbulence, and I had to write them letters just to say, “Thank you.” And when I get back from tour, I can be a bit agoraphobic. When you allow yourself to be that vulnerable in front of so many people, it then becomes this weird thing of just walking out on the street and one person looking at you becomes this extreme thing you can’t handle. I can get a little bit edgy about going out, which makes me a super fun person to date [ laughs ].

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Did you feel that way before you were famous? That oversensitivity definitely was there. I don’t think it was helpful for a super-sensitive person to become famous. I’m always saying to my manager, “I just don’t want to get any more famous than this. OK?” She’s like, “It’s not gonna happen now if it hasn’t happened already.”

How do you handle obsessive fans? I’ve had kids come to my house, but they’re always really sweet and wearing a Florence shirt and a fringy jacket. At first, I’m like, “Ugh, dude. Maybe this isn’t OK.” They want to talk about art history or whatever. I try to explain, “I love you and I appreciate the passion, but I need to work, and I need a safe space to just sit and write and think. I don’t think you’re gonna murder me, so do you want to have this book?” And I end up giving them a book.

How would you describe your mood when you’re working? A lot of it happens on the move, ’cause I travel so much. It’s like looking out a window and thinking about when I’m really sad or feel bereft about something. I get a strange wave of existential angst. It’s so big I have to call my mom and dad and be like, “What does it all mean? I don’t understand .” And they’re actually so used to be now they’re like, “You need to lighten up.” Also, my dad is like, “That is being human. You don’t understand. This is what it is.” I was like, “Ugh, you’re not being helpful.”

You recently got a tattoo that says, “Always Lonely.” Why would you want that on your body? Oh, ’cause I was super sad. Mixing High as Hope was a really lonely time in my life. I was in New York, and I had just gone through a breakup — one of those sad ones where it’s not very dramatic: You’re trying to do what’s best for both of you. You’re just getting on with stuff, which is oddly lonely in itself. I was thinking about the end of this relationship and “Why do I feel like the album comes first before everything? Are you perpetuating your own loneliness?” The closest relationship I’ve had for my whole life is with my music. Also, I guess, I thought it was funny.

On High as Hope’s “Hunger,” you sing, “At 17, I started to starve myself.” Did your family support you writing about your eating disorder? My sister was like, “What are you doing? Are you OK? You haven’t spoken about this even with Mom, and you’ve put it in a pop song? What’s wrong with you?” I was like, “Yeah, I don’t know what I’m doing.” But it opened up a lot of stuff in my family that was good in the end. I did sit down and talk it through with my mom. But it’s funny: With English people, you have the talk and then everyone just carries on, just like, “OK, that’s dealt with. We put that in the drawer and we go on.”

At what age do you feel you were done with the eating disorder? It’s not an overnight thing. It’s funny ’cause it’s one of the most insidious things you can have. I have a healthy relationship with my body now more than I ever did before, but it took me a long time. And it stays with you in really weird ways. So it’s hard to say, “When did you overcome it?” Because you would have overcome some of the behavior a long time ago but the head stuff, it takes a while. It comes back in really strange ways, which I was looking at in this record. It’s very hard to accept love. If you’ve been denying yourself nourishment in some way, you also have a tendency to deny yourself emotional nourishment.

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You’re sober now. When is the last time you had a drink? February the 2nd, four years ago. Being an extreme drinker was a huge part of my identity. Music and alcohol are sort of my first two loves. When I stopped, there was this sense that I was letting some ghost of rock history down that I just couldn’t cope anymore. It was monumental. It wasn’t like, “I want to be healthy and I need a change of pace.” It was like, “I’m going to die. I need to stop.”

Did a doctor tell you that? Lots of people told me I needed to stop [ laughs ]. One time, I told a friend I went to this spa, this retreat, and this lady in a white coat told me I should stop drinking. And she was like, “Was that a doctor?” I was like, “I thought it was a spa.” [ Laughs ]. But with quitting, I could have maybe carried on physically, but psychologically, drinking and drugs made me really depressed. I got so tired of how repetitive the hangovers felt. Once you’ve gone into the zone where it’s just tiring and you’re not having fun anymore, it was beyond me.

So it was a realization. Kind of a realization but also sheer exhaustion. I’d been on tour since [2009’s] Lungs , straight through to [2011’s] Ceremonials . I finally took a year off to relax and it was not relaxing because I didn’t have any reason to stop drinking. It was the most un-relaxing year of all time. Also, I was in a deep, romantic obsession with somebody who was really sane who wanted nothing to do with me. I had always been with people who were just up for my madness, and then someone was like, “I’m not up for this.” I’m like, “Why?! Why?!” Like drunk and yelling, and they’re like, “This . Because of this!” That experience was everything that went into [2015’s] How Big, How Blue, How Beautiful . It was like Dante’s Inferno and Purgatory . It was really bad.

What’s your biggest indulgence now? Vintage clothes, books and I drink so much coffee.

Are you good at getting rid of old books? Yeah. Do you do the thing where you go to people’s houses and go straight to their bookshelves and secretly, silently judge them on their book choices? I have such a fear of somebody doing that to me, so I keep mine really well curated.

You have a song on your new album called “Patricia,” about Patti Smith , and you call her your “North Star.” Why is that? When I was making High as Hope , I was thinking about how to live creatively without chaos. Her writing was like a blueprint. She seems to bring such reverence to the act of living that I find so inspiring. I could just read her write about her morning coffee for pages.

I bumped into her at Omen in New York. I’m so obsessed with her; I already know that she loves that restaurant, so that’s why I go there. I saw her and was like, “Oh, my God. Now I’m literally stalking this woman. I had this sense of shame, like, “It’s too real.” But the song had just come out, and she’d sent me a really nice message. She was so kind and sweet. She has this luminous beauty. She’s like an angel, and she took my hand and I just felt so shy. She was like, “I feel like I know you already.” I felt like the kid who came to my house one time. I was like, “Oh, this is super real now. This is real.” It was magical.

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Florence + The Machine live in Manchester: a cathartic and euphoric outbreak of dance fever

Florence Welch proves she is no false prophet by commanding the masses during the resumption of her injury-interrupted UK and Ireland tour

Everything Florence Welch does is marinated in melodrama. When she could finally tour her 2022 quasi-lockdown album ‘Dance Fever’ — inspired by both Welch’s desire to return to the live arena and the medieval dancing plague “choreomania” — she was quite ironically forced to postpone her UK and Ireland dates after “dancing on a broken foot” during a November gig in London, arguably the most gloriously on-brand performance injury that Welch could ever suffer.

Even before she steps on stage in Manchester tonight (“Shoes are new to me, but I can’t be tripping over my laces right now!” she later jokes), this rescheduled tour date is high on drama. Chandeliers descend from the ceiling, while the set’s gothic grandeur makes it look like the Florence + The Machine leader has booked into the Corpse Bride ’s Airbnb. Beginning by punching her fist in time to the staccato opening of ‘Heaven Is Here’, Welch’s ensuing two-hour set is a visceral bacchanal of precise arena-primed choreography.

Tasmanian Devilling around the stage in her billowing white ruched dress, the artist appears as seemingly afflicted by the hysteria her recent fifth album (and this tour) cribbed its name from. When Welch says that she wants to practice “a resurrection of dance”, she isn’t kidding: marshalling undulating limbs during euphoric anxiety anthem ‘Free’’s “ picks me up ” and “ puts me down ” chorus, as well as sprinting the entirety of the arena during the gospel-tinged widescreen chamber-pop of ‘Choreomania’, she achieves such unity without compromising an ounce of her vocal prowess.

Tonight, pagan and biblical imagery interweave. Midway through a thundering version of early calling card ‘Dog Days Are Over’, Welch casts herself as a messianic figure to any newcomers in the 21,000-strong crowd: “If you’re wondering, ‘What the fuck is this? Is it a cult?’ All I have to say is it really is better if you get into it.” During the similarly Midsommar :  The Musical vibes of ‘Dream Girl Evil’, Welch sings into the face of a floral headdress-adorned fan in the front row as if she’s just been chosen to be the May Queen.

Welch has previously described ‘Dance Fever’ as a collection of fairy tales in which she scatters a trail of personal lyrical breadcrumbs to make sense of her life. A moving ‘Morning Elvis’ explores her past battles with drink and drugs ( she’s been sober for nearly nine years ), and it’s one part of a brace of songs where she exorcises her personal demons like spirits escaping the traps in Ghostbusters . Nowhere is it more powerful than 2018 cut ‘Hunger’ and its stark lyrical sucker-punch “ At 17, I started to starve myself. ” Tonight, that line becomes even more bracing when it’s sung cathartically back by women who know what it’s like to treat their own bodies as battle zones. It’s followed by the once-ubiquitous The Source cover ‘You’ve Got The Love’, where Welch removes the vocal safety limits from her banshee-wail and effortlessly stokes a party atmosphere.

Like all the best cult leaders, Welch demands “a sacrifice” at the end of the gig. Rather than ushering a wicker man on-stage, though, she only requires her audience members to vault on each others’ shoulders. As the propulsive ‘Rabbit Heart (Raise It Up)’ strikes up and the crowd duly clamber aboard each other like joyous human Jenga towers, you can only conclude that Welch is no false prophet.

Florence + The Machine played:

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‘Heaven Is Here’ ‘King’ ‘Ship to Wreck’ ‘Free’ ‘Daffodil’ ‘Dog Days Are Over’ ‘Girls Against God’ ‘Dream Girl Evil’ ‘Prayer Factory’ ‘Big God’ ‘What Kind Of Man’ ‘Morning Elvis’ ‘June’ ‘Hunger’ ‘You Got The Love’ ‘Choreomania’ ‘Kiss With A Fist’ ‘Cosmic Love’ ‘My Love’ ‘Restraint’

‘Never Let Me Go’ ‘Shake It Out’ ‘Rabbit Heart (Raise It Up)’

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Florence Welch Channeled ‘Folk Horror Fairy-Tale’ Style on Tour

By Christian Allaire

Singer Florence Welch has been traveling the globe since April this year for her English indie-rock band Florence + The Machine’s Dance Fever tour. The album (the band’s fifth release, released in May) explores Welch’s relationship with movement—an interesting concept given it was recorded during the height of the pandemic, when live performances came to a halt. Her favorite part of touring, then, has been being able to reconnect with audiences and dance again. “I’ve just loved it,” Welch tells Vogue . “For an album so much about performance—the pull of it, the loss of it—to get to finally perform it live is truly a profound experience.”

The singer wanted the feel of this tour to be entirely different from her past ones, so she began with an eerily beautiful set. “The album itself is a kind of folk horror fairytale, so we wanted to create something that almost felt like a haunted house or a sunken ship,” says Welch. “Faded and rotting grandeur was very important. We pulled a lot of references from Great Expectations ’s Satis House, the mansion where Miss Havisham lived.” The end result was a striking stage display with haunting chandeliers. “[Stage designer] Es Devlin and I looked at a lot of holy reliquaries, and imagined what they would look like if they had been at the bottom of the sea for a hundred years collecting barnacles. Which is where this ‘sunken cathedral’ reference came from.”

To riff off the vibe of the set, Welch’s tour wardrobe had a similar dark, romantic feel. She wanted her fashion on stage to reflect her songs and lyrics, albeit in a more theatrical way. “The iconic costumes for Lucy Westenra from Bram Stoker’s Dracula were a big influence,” says Welch of her looks. “Again, fairy tales and horror have been a big part of the references. Something beautiful but bedraggled. Trailing lace, embellishment, crowns, vampiric capes. This is a very theatrical album, so it gave us a lot of room to play.”

To bring that vision to life, Welch enlisted Gucci’s Alessandro Michele to conjure up the designs. It was a natural fit, given Welch has served as a muse to the designer before, and Welch says they share a similar approach to stage wear. “Alle just knows how to dress my body at this point,” says Welch. “The dresses add so much to the performance, while always giving me freedom to move. And Gucci really dove into the fairytale with us.” He created pieces such as lace-trimmed maxi dresses, or ruffled gowns in sheer lilac. “I loved the chokers and the sequined embroidery,” she says. “This is the most detail we have ever had on stage outfits, and I’m so grateful to Gucci for all the time and love they have put into them.”

Outside of this particular album, movement has always been important to Welch, who is known for her twirling on-stage. As such, her performance costumes have to be practical. “I used to perform in suits, as I like invoking masculinity in my performances, but honestly I just can’t move as well in trousers,” says Welch. “As the show started to involve more and more contemporary dance, dresses became the only option for freedom of movement. So, I had to create masculinity through energy rather than clothes.” She adds Michele’s ethereal dresses were perfect for the tour. “You need something that is going to create romance and power,” she says. “And to be flattering no matter how you are throwing yourself around up there.”

As she continues touring through the end of the year, Welch will likely debut a few more new Gucci looks on stage. She says it’s already been her favorite tour to date. “From the stage to the clothes, to the looks that the crowd are showing up in,” says Welch. “Maybe it’s something about the theatricality of this album. But it really feels like the audience feel free to express themselves in their outfits, too. We’ve had people dressed as vampires, demon brides, Midsomer flower cults, and holy relics. No matter how tired I am, I now always look forward to seeing what everyone is wearing.”

Below, more photos from Welch’s Dance Fever tour.

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Florence + The Machine Postpones Tour After Singer Breaks Foot: ‘My Heart Is Aching’

'Dancing on an injury is not a good idea,' Florence Welch said.

By Mitchell Peters

Mitchell Peters

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Florence + the Machine has postponed the remainder of its U.K. tour after lead singer Florence Welch broke her foot.

The charismatic frontwoman for the orchestral rock band took to social media on Saturday (Nov. 19) to share the upsetting news with fans, noting that she had been dancing on her injured foot while performing at London’s O2 Arena on Friday evening.

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Florence welch, trending on billboard.

Florence + the Machine’s U.K. tour was scheduled to run through Nov. 30 in Dublin, Ireland. The trek will be rescheduled for 2023. At press time, the band had live shows scheduled for next year in Australia, New Zealand, Europe and the U.K., according to its website .

“Please hang on to your tickets. We are working our hardest to reschedule these dates for next year and we will let you know as soon as possible,” Welch added in her post. “I’m heartbroken as the Dance Fever tour has been my favourite show we have ever put on. The communion with you. Your beautiful faces shining. I love you so much, and I’m so sorry to anyone who is disappointed.”

Florence + the Machine is touring in support of its latest album, Dance Fever , which topped the U.K. chart , and reached No. 1 on Billboard ‘s Top Rock Albums and Top Alternative Albums charts.

See Welch’s post on Instagram below.

View this post on Instagram A post shared by Florence Welch (@florence)

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Florence Welch reveals emergency surgery amid tour cancellations: 'It saved my life'

Florence Welch has revealed she underwent life-saving surgery that forced her to cancel shows this past week.

On Sunday, the Florence + the Machine singer took to Instagram to apologize to fans about cancellations at Zurich Openair and Rock en Seine festivals in Europe.

"I'm so sorry that I had to cancel the last couple shows," Welch wrote. "I had to have emergency surgery for reasons I don’t really feel strong enough to go into yet, but it saved my life."

She continued by saying that she'll return to the stage Sept. 1 for a performance at Meo Kalorama festival in Lisbon, before closing out her Dance Fever tour Sept. 2 in Malaga, Spain. "Dance Fever," released last summer, is the fifth album from indie-rock band Florence + the Machine.

Interview: Florence Welch shares how anxiety came with her sobriety as she and the Machine embark on tour

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"Suffice to say I wish the songs were less accurate in their predictions," Welch said. "But creativity is a way of coping, mythology is (a) way of making sense. And the dark fairytale of 'Dance Fever,' with all its strange prophecies, will provide me with much-needed strength and catharsis right now."

Welch, 36, previously postponed dates on the band's U.K. tour last November after she learned she was performing on a broken foot. "My feet are fine," she said in Sunday's Instagram post, but did not disclose any more specifics about her recent surgery.

Florence + the Machine is a seven-time Grammy-nominated group, best known for hits including "Dog Days Are Over," "Shake It Out" and "What Kind of Man." Welch also wrote the music and lyrics for an upcoming musical based on "The Great Gatsby," premiering in Cambridge, Massachusetts, next year.

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Florence Welch hints at surprise Eras Tour appearance

Florence Welch hinted she could pop up at one of Taylor Swift's 'Eras Tour' shows in London.

The Florence and the Machine singer is featured on the track 'Florida!!!’ from the pop superstar's latest LP 'The Tortured Poets Department’ and has admitted she was slightly naive about "the scale" of being part of Taylor's crazy world.

She told British Vogue: “I almost didn’t think of the scale of it. There’s the sort of bigness of [Taylor Swift the phenomenon], and then there’s the Taylor I spend time with in the studio, who is just the sweetest and most down to earth.”

Florence continued: “We had such a fun time. And then when it came out I was like, ‘Oh, s***!'”

Quizzed on whether she could appear at one of the eight concerts Taylor is playing at Wembley Stadium this June and August, she played coy: “If I was gonna do it, it would be a surprise.”

Meanwhile, Florence and the Machine are set to play a one-off orchestral gig at London's Royal Albert Hall, performing their acclaimed debut album, 'Lungs', in full.

Florence teased the special concert and is "currently on the hunt for old medieval English instruments."

‘Florence + The Machine – Symphony Of Lungs’ - which will be part of the BBC Proms - will take place at the historic venue on September 11.

She told the publication: “When [the invitation] came in, they were like, ‘We know you’re off, but would you…?’ and I was like, ‘Yes!’"

The 37-year-old singer added: “I’m so honoured.

“The background to life in my house is classical music, and especially the more obscure things. So it’s a really exciting thing to be asked to do – the Proms is just so special.”

The 'Dog Days Are Over' hitmakers released 'Lungs' on July 3, 2009, and it went on to nab the BRIT Award for British Album of the Year.

A 10th anniversary edition was released in 2019, with two unheard tracks, 'Donkey Kosh' and 'My Best Dress', which were recorded during the original recording sessions for the LP.

A special box set also included B sides, rarities, and more.

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