Florence Welch executes her sporadic dance moves with such poise and agility that youâd think sheâd run onto stage wearing a pair of ballet slippers. As she twists and leaps, barefoot, to the euphoric surges of recent single âMy Loveâ, her limbs seem to merely scrape the air; she sways and claps to the songâs spiralling arrangement, while her band members never miss a beat.
Backlit by a soft spotlight, this almost celestial impression is reinforced by the south London vocalistâs beautifully detailed all-white dress and cape, and the copious use of the smoke machine. She roams the stark, almost empty stage design as pastel pink lights blink and beam like the glitter-strewn flower crowns that adorn enchanted fansâ heads. After a mesmerising Shake It Outâ, she beckons her audience at Londonâs Theatre Royal Drury Lane, the world’s oldest theatre in continuous use, to come closer. They obey, rising from their seats in quiet respect and awe like a congregation (no wonder: the venue is 10 times smaller than the O2 Arena she’ll play in the same city later this year).

Itâs apt that Florence + The Machine have chosen to wrap up an intimate tour in support of forthcoming fifth album âDance Feverâ (due May 13) in such a grand setting. There is much religious symbolism at work: the coiled frustration of âBig Godâ is healed by the earthly, groove-led balm of âWhat The Water Gave Meâ. The upper register of Welchâs voice reaches a scream at âKingââs heaving peak, before âHeaven Is Hereâ is blasted at the rafters. New track âGirls Against Godâ, meanwhile, speaks to an inward search for hope â a song, she explains, that is fuelled by âOld Testament-style furyâ and represents âthe many spiritual breakdowns Iâve been onâ.
But there are moments, too, where the effect is more grounded. After the adoring front rows continue to honour her return with consecutive standing ovations, Welch gifts her tambourine to a fan. Later on, she picks up a letter thatâs been thrown on stage and holds it close to heart as the percussive judder of âHungerâ kicks in. Hands shoot to the air, the songâs tightly wound pain and despair unspooling during the unbridled release of the chorus.
During set closer âDog Days Are Overâ, the rousing call-to-arms from 2009 debut âLungsâ, Welch stops singing as the final, tear-stained chorus arrives and lets 2,000 voices take over. Couples kiss; others grab their mates tightly. âThereâs no need to be self-conscious when we all dance together,â she tells us with a warm laugh, underlining her unrivalled ability to facilitate joy and wonder in shared catharsis.

Florence + The Machine played:
- ‘Shake It Out’
- ‘King’
- ‘What Kind Of Man’
- ‘Kiss With A Fist’
- ‘Free’
- ‘Rabbit Heart’
- ‘My Love’
- ‘Big God’
- ‘What The Water Gave Me’
- ‘Girls Against God’
- ‘June’
- ‘Hunger’
- ‘Ship To Wreck’
- ‘Heaven Is Here’
- ‘Spectrum’
- ‘Cosmic Love’
- ‘Dog Days Are Over’
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