"But the new song she is steeling herself to sing presses on a bruise. With ratcheting intensity, You Can Have It All grieves an ectopic pregnancy which almost killed her, as well as a music industry that punishes its stars for motherhood. Over grungy electric guitar, her tempestuous voice billows like sails in high wind: Am I a woman now? It leaves the arena in stunned silence. She gives a wry curtsey."
"Everybody Scream deals in familiar Florence tropes mountainous emotions, thundering drums, glittering harp but with a new sombreness, particularly as she wrestles with questions of legacy. On earlier songs she raged against metaphorical demons; now, on One of the Greats, her targets are more explicit as she stares down male peers making boring music and sings, her face tight with frustration, about what it would take to conquer and crucify."
"With her longstanding band the Machine performing in the shadows, Welch is accompanied by a choir who writhe and scream and rip at their frothy petticoats. This high-drama show could never be boring but it threatens to overwhelm: the choir's folksy horror pulls focus away from a performer who can transfix a crowd, alone, with ease. Last year's single Sympathy Magic is an instant Florence classic: a sky-high plea for catharsis through song."
Florence Welch performs a sold-out Glasgow show from Everybody Scream with moments of vulnerability and theatrical intensity. She trembles before singing You Can Have It All, a song that grieves an ectopic pregnancy and condemns an industry that penalizes motherhood. She tears through Spectrum barefoot, then delivers somber material that questions legacy. One of the Greats targets male peers and expresses frustration at artistic complacency. A shadowed Machine band and a writhing choir create high drama that sometimes distracts from Welch's solo magnetism. Sympathy Magic provides catharsis, and the set closes with the aching, pretty And Love.
Read at www.theguardian.com
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