No music artist has ever inhabited the unforetold musical moments that this band has produced over their indie years and no music artist screams ‘refined with elegance‘ more than Florence + The Machine does.
Perhaps in a whole subculture of her own, Florence Welsh‘s enchanting storytelling and lyrical prowess has been the forefront of music for years. Encased with sparse textures and ceremonial robes, there is an air of defiance when it comes to Flo’s music.
With their first new music since High As Hope in 2018 – apart from their soundtrack debut of Call Me Cruella in 2019 – King is a warmth fuzzy feeling knowing full well that Florence is back to her winning ways.
Derived from royalty, King questions and challenges the very morals that we associate our genders with. In an ever-growing world where identity has become an integral part of life, Florence + The Machine become part of the conversation again – despite being vacant for almost three years.
“As an artist, I never actually thought about my gender that much,” Welch said in a statement. “I just got on with it. I was as good as the men and I just went out there and matched them every time. But now, thinking about being a woman in my 30s and the future, I suddenly feel this tearing of my identity and my desires. That to be a performer, but also to want a family might not be as simple for me as it is for my male counterparts. I had modelled myself almost exclusively on male performers, and for the first time I felt a wall come down between me and my idols as I have to make decisions they did not.”
As always, Ms Welch takes consistent ideologies and reshapes it in a beautiful imagining of meaning. This is King. This is 2022’s Florence + The Machine.