Has any pop singer in recent memory evolved their sound with more care than Florence Welch?
It’s been almost a decade since Lungs made her a star – a wood-dwelling sorcerer of booming goth-art pop that scored both indie and mainstream kudos. That ethereal character (and brand) is still present on fourth LP High As Hope, but this time, she works her magic in more mundane settings.
The arrangements are airer – piano, tribal drums, sly strings, the occasional brass section – and the songwriting doesn’t quite demand your attention like previous releases, but here there’s a deliberate – and welcome – effort to humanise the machine.
‘South London Forever’ knows it has a lot to catch us up on, and so starts with Florence’s boozy adolescence and E-fuelled partying days (name-checking legendary gay bar The Joiners Arms) before moving on to her millennial woes. What could have been self-indulgent ends up a sweet and confiding mini-epic.
This is a more frayed Florence than we’re used to, but even with the layers pulled back, she’s a fascinating artist. Guided by her titanic voice, ‘Hunger’ is exultant gospel-pop on the surface, but the connections the lyrics make between body positivity (‘At seventeen, I started to starve myself’) and emotional fulfilment are rich in pathos.
Welch’s range can be jaw-dropping, and the set’s many ballads give her ample room to explore it. But despite all the nips and tucks to her sound, it’s that banshee wail that tells you you’re listening to a Florence and the Machine song. And when those lungs get to work, she’s an instantly recognisable force in British music.