Posts Tagged ‘Florence Welch’

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Florence and the Machine pay tribute to Fleetwood Mac, a crucial influence for her with a stripped-down cover of “Silver Springs” that was recorded during a special radio session for The Spectrum at the SiriusXM Studios.

Singer Florence Welch commands the track with her fluttering vibrato, occasionally adopting a light twang as she channels Stevie Nicks. The arrangement opens with subtle piano and acoustic guitar, building with layered backing vocals and a faint tambourine.

Welch spoke about Nicks as a creative inspiration “I’m pretty obsessed with Stevie Nicks, from her style to her voice,” she said. “I like watching her on YouTube and her old performances, the way she moves and everything.”

Florence Welch is in a totally new headspace for new album High as Hope, the follow up to Florence + The Machine‘s chart-topping How Big, How Blue, How Beautiful.

During the SiriusXM session, Florence and the Machine also performed three original tracks: 2009’s “Cosmic Love” and recent singles “Hunger” and “Sky Full of Song,” both from the band’s fourth studio album, High as Hope. 

Speaking to Jenny Eliscu ahead of her exclusive SiriusXM performance, Welch acknowledged that her life and the way she views the world has changed since her last record. This led to her single Hunger becoming a celebratory song about the human condition rather than something dark and dramatic. Along the way, she also learned that freedom can come from being disciplined and isn’t just a “let loose, smash everything to bits kind of thing.”

Florence + The Machine performs “Hunger” at SiriusXM Studios in New York City.

Elsewhere in the interview, she discussed the origins of the album title High as Hope, saying that it came out of a poem she wrote about New York, and she also clarified why her recent breakup wasn’t a focal point of the album.

“I didn’t feel like people needed to hear that any more, and I think, at that point, there were bigger heartbreaks going on than my own heartbreak,” she told Eliscu. “It somehow didn’t feel like that interesting to me. And maybe ‘How Big, How Blue’ had covered every nook and cranny of heartbreak that you possibly could. And also, I guess, in the journey that I had in the last couple of years, I understood that it wasn’t really about the other person, you know?”

Florence and the Machine, opened for the Rolling Stones in April,

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The band’s previous music has always been opulent, anthemic quality but that is missing from their new track. “Big God” it is sparser, but gorgeously so. If Florence Welch’s ethereal vocals made her sound like a goddess on previous tracks, she’s a distinctly grounded one on “Big God” as she sings of messages left on read and a lopsided relationship. “Is it just part of the process? / Jesus Christ, it hurts,” she asks, and the small wounds feel all too real.

Florence Welch has opened up in a personal interview to The Guardian about why she has given up alcohol after a period of non-stop partying and also about the impact of her Grandmother taking her own life.

Welch is due to release her fourth album High As Hope with Florence + The Machine this Friday and has revealed she drank because she “didn’t know how to come down from touring” as well as heavy drinking before performances to combat her “shyness“.

“That’s when the drinking and the partying exploded, as a way to hide from it,” She added: “I was drunk a lot of the time, on extra dirty Martinis – my way of drinking three shots at once. I was never interested in a nice glass of wine.”

She also spoke of how she ‘rarely slept’ in the early years  with Florence + The Machine and how she would often end up going on ‘two day parties’ and waking up in weird locations wearing other peoples’ clothes.

“The partying was about me not wanting to deal with the fact my life had changed, not wanting to come down” the 31-year-old said. She added: “It always felt like something had picked me up and thrown me around various rooms and houses, then gone ‘boom!’ It happened every time, and every time it was shocking.”

She continued: “When I realised I could perform without the booze it was a revelation. There’s discomfort and rage, and the moment when they meet is when you break open. You’re free.”

The Londoner also opened up about her Grandmother’s tragic suicide and how this has changed her outlook on life. She said: “My mother’s mother committed suicide. And the way she was loved by her mother has related to the way she loves us, which then is the way we love others.”

Before adding: “My grandmother fell, so sometimes I feel like we’re all still in this loop, falling with her. The trickle-down of tragedies.”

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Florence Welch’s more operatic tendencies remain unchecked on “Sky Full Of Song” and “Hunger,” the lead singles off of High As Hope, Welch’s new album with the rotating cast of musicians who make up Florence + The Machine. She may have outgrown the “girl and her keyboard” act a long time ago, but her drive to create earnest, theatrical mini-epics remains as strong as ever. And thank goodness for that: Trying to contain a voice as powerful as Welch’s, rich with vibrato and confessional momentum, would be like clipping the wings of a golden eagle.

High as Hope was written, mixed and co-produced by Florence Welch, marking her first time co-producing a Florence + The Machine album. The majority of the record was recording in solitude, as Welch rode a bike to her South London studio to record daily. She finished the songs in Los Angeles with her friend and co-producer Emile Haynie, and also brought in some big-name collaborators. The record features appearances from Kamasi Washington, Sampha, Tobias Jesso Jr., Kelsey Lu andJamie xx. Welch mixed the record in New York, where the city’s towering skyline gave the album its title.

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On Tuesday, 15-year-old Brynn Cartelli was named the youngest-ever winner of NBC’s The Voice, but the real winners of the night may have been the musical guest performers. Florence + The Machine played on the live season 14 finale on Tuesday night, treating the celebrity judges, contestants and viewers to two stellar performances.

Florence Welch and co. granted audiences a performance of their newest track, “Hunger,” which debuted earlier this month. A backdrop of long white drapes whipped like sails as Welch delivered her usual high-energy spectacle, circling the entire stage multiple times. Florence + The Machine’s newest album High As Hope is out June 29th.

Florence + the Machine perform “Hunger” during The Voice live finale.

Florence and the Machine released a sweeping, string-laden ballad, “Sky Full of Song,” last week . The track will be available on April 21st, Record Store Day, as part of a 7″ single. It’s the first new track from Florence Welch’s band since 2016.

“Sky Full of Song” centers on Welch’s robust vocals. She sings almost a capella; when strings and piano enter, it’s with a soft throb so as not to detract from her vocals. Welch’s aggression and complex desires fill a space. “I was screaming at my father, and you were screaming at me/ I can feel your anger from way across the sea,” she sings. Then, on the bridge, she’s swallowed by ambivalence: “I thought that I was flying/ But maybe I’m dying tonight.”

In a statement, Welch said “Sky Full of Song” came to her “fully formed.” “Sometimes when you are performing you get so high, it’s hard to know how to come down,” she said. “There is this feeling of being cracked open, rushing endlessly outwards and upwards, and wanting somebody to hold you still, bring you back to yourself. It’s an incredible, celestial, but somehow lonely feeling.”

In the video for the song, directed by AG Rojas, Welch spends most of her time lying on the floor with her right hand outstretched. When not horizontal, she sits on her knees as if about to pray, singing as she gazes upwards.

Florence and the Machine’s last album, How Big, How Blue, How Beautiful, came out in 2015.

The dog days are decidedly over in “Queen of Peace/Long & Lost,” the new double-feature video from London indie pop-rock megastars Florence and the Machine. The nearly 10 minute mini-movie is a gorgeous ode to the Scots countryside (director Vincent Haycock filmed it on the isle of Easdale), but its emotional frequency is less ode and more lament. Florence Welch, the band’s striking front woman, makes full use of her ethereal mythos in the video’s epic narrative, playing both victim and healer to a group hell-bent on violence and destruction.

Welch has the capacity for big, booming pop songs, and “Queen of Peace” does have a horn section set to 11, but her singing is remarkably reserved, only opening up in glimpses during the song’s emotional chorus. The high drama and striking visuals of the video at least match, if not surpass, both vocals and instrumentation in intensity.

The transition to the far quieter of the two singles, “Long & Lost,” is as melancholy and natural as the corresponding arrival of night in the video’s narrative. The final image of a mourning,  desolate on a silent dock, is telling as both an epic story’s resolution and as an abstract portrayal of Welch as an artist, digging deeper and reaching harder than she ever has in this strange and wondrous performance.

Florence Welch ramps up the melodrama in “Queen of Peace/Long & Lost,” a 10-minute short film paired to two tracks from her recent LP, How Big How Blue How Beautiful. the singer exploring weighty themes – loss of innocence, male brutality, familial struggle – against the wind-swept backdrop of Scottish isle Easdale.

In “Queen of Peace,” Welch and her younger self roam around the countryside, lamenting at the feet of violent men. “Suddenly I’m overcome, dissolving like the setting sun,” the singer belts on the surging chorus. “Like a boat into oblivion, ’cause you’re driving me away.” In “Long & Lost,” the clip’s brooding counterpart, the Welches drift on a river as a storm threatens the night sky. “Lost in the fog, these hollow hills,” she sings with her trademark flair. “Blood running hot, night chills / Without your love.”

“The end of the video was done in a single take, at the very last seconds of light during a stormy barge ride on a freezing sea,” Haycock says in a statement. “The effort and focus on both the actors and crew was so amazing. Florence delivers one of my favorite moments to date, and it’s one of my proudest technical and narrative accomplishments.”

Haycock has previously collaborated with Florence Welch on four videos from her recent LP, helming clips for “How Big How Blue How Beautiful,” “What Kind of Man,” “St. Jude” and “Ship to Wreck.”

Last month, Florence and the Machine were promoted to Friday night headliners at the Glastonbury Festival after a cancellation from Foo Fighters..

Florence has unveiled ‘How Big, How Blue, How Beautiful…’, the first track to be lifted from her new album.

With the follow-up to 2011’s ‘Ceremonials’ due out this spring, Florence Welch’s return has arrived with a new clip directed by Tabitha Denholm and Vincent Haycock, which shows her in dual form, locking limbs with a twin. The track itself is almost purely instrumental, Florence Welch’s vocal only entering midway through, surrounded by bold, bellowing horn sections.

The artwork for Florence + the Machine’s new album appeared to be revealed on iTunes. A full album title and tracklist have yet to be confirmed, but Welch hosted a private, intimate gig for friends and family in Shoreditch last night 9th February.