I have heard Florence Welch’s sound described as “music for insane women” — a fitting description of the witchy and enchanting journey audiences embarked on during the “Everybody Scream” tour.
Bounding to the stage barefoot and swaying in a quintessential Florencestyle draped and lacey dress, Welch opened to the tour’s titular song “Everybody Scream,” causing the audience to do just that as she opened the tour’s North American leg.
The night felt like a witch’s cauldron mix of ethereal storytelling, power ballads, feminine rage, religiosity and, above all, enduring hope.
The album “Everybody Scream” was released on Halloween of 2025, fitting its haunting occult atmosphere. It largely deals with Florence’s personal journey of an ectopic pregnancy necessitating emergency medical care. Welch aptly chose to donate portions of the proceeds from the album to Planned Parenthood and Doctors Without Borders, and displayed screens prompting donation links to the two humanitarian organizations before the encore of the show.
These themes of trauma and suffering inspired by Welch’s journey come to light as she traverses songs embedded with deep storylines, such as “You Can Have It All,” which explores the grief of this experience and argues against the fallacy that women must “have it all.” When paired with the verses of “King,” a feminist anthem in its repetitive chorus, “I am no mother, I am no bride, I am king,” Florence’s lyrical prowess came on full display.
Florence knows duality. Her concert presented many dichotomies, such as her soft-spoken, delicate voice, and the low, grand melodies that characterize her style, but would easily surprise new fans. It also contained a strong emotional dichotomy, as the setlist oscillated from sad heavy-hitters that had audience members waving flashlights and placing their hands to their hearts, to the liberating melodies of album hit “Buckle” and her 2022 hit “Free,” a personal favorite of mine.
Florence allowed room for both sides of her discography, joking with the audience preceding “Buckle” about her embarrassment at the song’s perhaps cliché – yet universal – theme of yearning for someone to finally text you back.
However, the throughlines of the eclectic, fairytalelike art pop mythology and frequent themes of questioning religion and gender roles are present in every facet of her music.
Adding to the ritualistic and immersive spirit of the concert was the diverse capabilities of The Machine, Florence’s band. Where Florence delivered the emotional depth of the themes she so masterfully articulates through both her lyrics and sublime voice, the Machine was just as powerful, casting spell-like melodies into each song.
At various points throughout the show, all the lighting and sound were turned off leaving audience members to silently anticipate what was to come next. One of the best breaks of these silent moments came as a single light focused on a member of The Machine as they gracefully played a harp solo opening “Cosmic Love.” The spotlight felt like a halcyon moment amidst the intensity of Florence’s unrelenting, powerful style. Stunning piano, guitar and drum pieces from The Machine imbue each song with the musicality that makes Florence + The Machine the powerhouse they are.
Furthering the fantastical theatrics of the show were Florence’s four-woman coven of similarly layer-draped dancers, who added both choreography and backup vocals to the show. The convulsive movements of the “Witch Choir” furthered the sense of folklore, reminiscent of watching a live feminist cult ritual.
While the concert highlighted songs from “Everybody Scream,” it covered her whole discography. Early favorites included “Shake It Off,” a lyrical ballad about shaking off the devil, which had the whole stadium screaming along in the cathartic nature that persisted through the entirety of the concert.
Additional highlights from older albums included “Big God,” “Seven Devils” and “Which Witch.” Seeing these songs live confirmed for me that Florence is perhaps at her best in her vocals and passion when she is singing of the gods and demons who make up the mythical worlds she paints in her albums. She’s a master at bringing those worlds back to life.
These real-life connections felt especially prominent nearing the end of the concert when Florence plunged into the crowd during “Sympathy Magic,” holding fans’ hands and singing along to the lyrics with them.
Going into the concert, I couldn’t confidently say “Everybody Scream” was my favorite album of hers, but while I still hold that “High as Hope” and “How Big, How Blue, How Beautiful” are masterpieces never to be dethroned, seeing this album live showcased Florence’s creative vision in an entirely new light. I’m coming away from it with a much greater appreciation of the album, especially the songs “Sympathy Magic” and “The Old Religion.”
A fan-favorite moment came with the much-anticipated playing of Florence’s 2008 classic “Dog Days are Over,” where she successfully ordered a phone ban, calling audience members to instead scream along to the nostalgic lyrics.
Welch closed the night with “And Love,” an anthem off of Everybody Scream that led to one of the most beautiful moments of the night — the worship-like recitation of the song’s last line, “Peace is coming.” In this moment, peace felt more achievable than ever.
