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Florence And The Machine
“I FEEL like I’ve come to my own funeral,” chirps Florence Welch, commander and chief of Florence And The Machine, somewhat overwhelmed to find herself singing at the altar of St Philip with St Stephen Church in front of a floral tribute that spells out her name.
It’s a fairly bijou venue for a girl tipped to be massive in 2009 (unsurprisingly, it sold out eons ago), but it’s one that suits the epic, high drama of her songs well: reverential, kooky, unconventional.
The mixed ages crowd – from the 12-year-old volunteer glass collectors rocking out in the balcony, to the parents with their older offspring sitting attentively in the pews – says a lot about the accidental collision of styles that is fuelling interest in Florence’s music.
Welch admits an obvious passion for Kate Bush and the instinctive rhythms of The White Stripes.
But there’s the eclecticism of Love and The Velvet Underground to be found in there, too, as well as some serious gothic overtones: The Cure and Siouxsie & The Banshees both loom large.
And it’s a brush with the dark side her look and stage set reflect.
Stood behind a bouquet of dying roses and dressed in a black dress, Florence oozes drama.
But she also understands how to create it; a simple fan that billows her frock and dishevels her hair throughout makes her look like a feral conjuror casting spells on a windy moor.
Her voice is primarily the most startling tool she has – within seconds of Between Two Lungs opening the night, she’s soaring through the high notes with such ease that it suggests they’re nowhere near the top of her register.
Siouxsie Sioux-like baritone
Flick a switch and she’s booming out a Siouxsie Sioux-like baritone, another and she’s back up in the high notes with an altogether lighter, Laura Marling-esque touch.
Memories of other revered female musicians spring to mind during My Boy Builds Coffins – most notably Regina Spektor – and it’s here that the strength of Florence’s song writing really begins to show.
Regular cover Girl With One Eye sounds eerier than ever as it bounces around the church’s echoey nave, not least because she runs with the room it leaves her to indulge in some beautiful vocal improvisations and a cappellas.
By Dog Days Are Over, she can resist the tempting pulpit no longer and she clambers up to deliver her strutting testimonial.
“I think I’ll have to give a little high-five to God for that one,” she smiles as the song closes.
It’s not all just about Florence, of course. Tonight, her Machine sounds extraordinary – densely arranged and tight.
They convincingly flip between moods and styles, from the 1980s vibe of Are You Hurting The One You Love, to the Hanging Garden-esque Howl, the 1990s Balearic groove of new single Rabbit Heart (Raise It Up) and the more conventional rock sound of Kiss With A Fist.
It’s a short set with a generous encore that makes the most of the Machine’s explosive sound.
As the light finally begins to fade outside, Blinding takes the venue to a noisier, gloomier place and an altogether more spiritual cover of The Source’s 1980s hit You Got The Love is played in fits and starts, each pause provoking deafening cheers.
Truly an extraordinary night with a truly extraordinary performer.
If Florence doesn’t become a huge star on the back of shows like that, it can only be because her music is too ambitious.
Reviewed: Tue, 02 June, 2009
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