Florence Welch. About the beginning of her career and the new album “Dance Fever” – Music

Photo: ONS


Although she looks like a Disney fairy on stage, her energy and powerful voice are a nuclear emotional charge for the crowds of fans attending her concerts. Those showered with flowers and flowers can wait for the gates to open from dawn (even in winter!). It sounds like a crazy sect, but it’s no coincidence that they have such a dedicated fan base in Poland. Sophie and cute at the same timeEager for personal contact with the audience, she charms and captivates crowds who want, at least for a moment, to move into the alternate reality she creates. Because no one sings about emotions and pain and the other so beautifully.

“In the beginning it was chaos…”

Since she was a child, she had the feeling of being different, she swayed a lot in the clouds, she was very strong and she felt like she didn’t quite fit in with the world around her. I have always looked for an outlet for emotions in art. For this reason, she ended up at Camberwell College of Art in London. However, she was not afraid that her mother, a senior lecturer at King’s College specializing in Renaissance research, cared more about structured education, so Welch quickly abandoned her studies to focus on her music. As she asserted many times, her father instilled punk chaos into her mother’s desperation (which appeared in 2015 in one of her music videos – “Ship to Wreck”).

She quickly absorbed the rock ‘n’ roll lifestyle that came with the astounding success of her first two albums: her debut album “The Lungs” (2009)and then “Celebrations” (2011)Which immediately gave her a strong position in the music market. The effective, even cheerful arrangements of the films – at times lively, sometimes dark and gothic – hide behind a figurative veil the feelings accompanying the highly sensitive Welch: acne in all its inventory, but above all an overwhelming sense of detachment from reality and “Who should you be”.

In the crazy whirlwind of her evolving career, she alternately wandered, recorded, “visited” and celebrated to the point where She admitted to herself that she was addicted to alcohol.

She later admitted in an interview with Zan Low: “I thought the drinking and the chaos around me would fuel my creativity.” And although it was the birth of the first two albums, Welch decided that, like many before her, she didn’t want to be the next young victim in an impressive career. She gave up drugs, bought her house, moved away from her mother, and took a break from work.

And when she was counting on stability, peace and happiness, this happened to her The most painful part of her life. And from him was born, of course, the new album “How Big, How Blue, How Beautiful”, hailed by critics as the new “ultimate breakup album”.

broken heart anatomy

“Florence Welch has built her career on the assumption that she feels things more painfully and powerfully than anyone else,” Douglas Walke wrote in the article “How Big…” for Pitchfork.

An audiovisual album accompanied by music videos in the form of a film story (“Odyssey”), She was different from her predecessors, not only in sound, but also in Welch’s own image. Glamorous covers were replaced strictly in black and white, and the inherent solemn dresses – with simple suits. The texts, though more lyrical and symbolic than before, lead to a painful decomposition of not only the broken heart, but also all the star’s self-destructive tendencies.

A strong comeback after a 4-year hiatus seems to have helped her break out of her previous comfort zone and give her the courage to experiment, but it also whetted fans’ appetites, but the next album (“High as Hope”, 2018) garnered the least enthusiastic reviews of all of her recordings to date. The album’s subdued, uniform production stripped all the grandeur and scale that fans loved for Florence. And though she once again opened up the darkest corners of her head to fans lyrically, admitting that she had struggled with eating disorders in the past, the album passed without much of an echo. “How small, how beige and how disappointing”, Books by Catherine St. Asaph in the disc review, noting unpleasantly the better-received previous album.

So ambitious and creative, Welch began work on the next production. However, the epidemic stopped in her way, which meant that she was once again forced into silence at home, alone with her demons, weaknesses and thoughts.

epidemic party

The title “Dance Fever”, although intimidating at first glance to associate disco groups with Boney M. and Donna Summer, is essentially the crux of Welch’s metaphor. The album, written in the pre-pandemic period, refers to the documented album The phenomenon of “dance mania”that occurred in Europe between the fourteenth and seventeenth centuries.

As ridiculous as it seems today, historians show it is Mass mental illness, manifested in an obsessive dance to the point of physical exhaustionIt was the subconscious’s way of relieving stress and clearing the mind of omnipresent thoughts, poverty, disease, and wars. The symbol of Dance Mania directly refers to the difficult time of closure, which allowed Welch to understand that making music, dancing, connecting with people, and performing are her greatest needs and a blessing (and also a curse, as she herself put it, analyze the relationship with your creativity).

But Dance Fever is also a feminist statementWelch has publicly asserted that, as an artist, she had to choose between pursuing a promising career or starting a family. On her first single “King”, she sang: “I’m not a mother, I’m not a wife, I’m a king”, beginning the song by recalling controversies about his ambitions and life priorities.

“I’ve been thinking about the men I’ve admired for many years. They, despite the fact that they all undergo major changes in their lives, have the consent to remain unchanged for years. They can devote their entire physical core to the stage. I wanted to be like them, I wanted to I followed in their footsteps until I realized I couldn’t do it. I will have to make choices‘, she admitted in an interview.

The cover style and full background visual for the recording were designed by Autumn de Wilde (responsible, among other things, for the fairy tale, and revised in every detail of “Emma” with Anya Taylor-Joy) and Inspired by Renaissance art, mythologybut also (quite by chance, though perhaps prophetic?) Ukrainian Slavic Avatar. The music videos themselves were recorded in Kyiv in November of last year.


The album, sometimes referring directly in sound to her first recordings, won praise not only from critics, but also from avid fans of vintage sounds. It also made Welch herself, who had been hiding behind a facade of shyness and humility for years, finally admitting out loud, “I’ve worked hard to be the best artist I can be and I’m so proud of that. Should I let this go? I’m king after all.”


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