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The beautiful Florence Welch Our writer's artistic impression of support XX | | "Oh, for fuck sake stop lighting off fireworks and shouting & screaming I'm trying to sing a song! I mean I don't care. If you don't want to hear it. You know fuck you. I'm sure there are a lot of people here who do want to hear it. So why don't you just be quiet. If you want to light your fireworks off go outside and light them off out there and if you want to shout and scream well then go and do it out there.... but, I am trying to sing a song that some people want to listen to. I want to listen to it."
-Roger Waters, 1977
The XX , support for Florence and the Machine, seem a strange choice for such an innovative artist. On stage they wandered, standing in a line that would make any bus stop proud, played 30 minutes of weak electronica, and then wandered off again. Throughout their slot, they barely spoke a word, were lit from behind, and actually looked bored. The drummer (actually a man pressing buttons, obviously his mum thought a drum kit would be too loud) actually seemed to sag under the sheer weight of the crowd's disinterest. Little choice is left but to assume that the x's in their name aren't kisses, but instead stand for S.H (I.T). For a rough idea of their slot, look at this picture. See second picture on the left.
Right.
After an intro reminiscent of the Ram Jam's Black Betty (which sadly went unplayed), Florence herself comes on stage into a furious version of Kiss with a Fist which instantly gets the crowd moving and singing. This was followed by Birdsong, an electric version of B-Side Are You Hurting the One You Love, and a brilliant acoustic set, which involved a birdcage on a stand being brought to stage front. Those lucky crowd members at stage left hence witnessed the glory of Florence Walsh singing with her head in aforementioned birdcage.
The gig passed in no time at all, almost all present absorbed into the show. This was a perfect showcase of Florence's dual persona, flicking between her natural personality as a somewhat ditzy young girl, and her singing and performing style. This style is unique in this day and age, a shamanistic ritual style unseen since Jim Morrison passed away in 1971. The influence is certainly seen in set closer "Blinding" which had a build up and climax worthy of "The End" which would've had Mr Mojo Risin' himself applauding. Such was the impact that an encore seemed token, an afterthought consisting mostly of "Well, we should probably play the big numbers," resulting in The Source cover You've Got the Love, and Rabbit Heart, the latter of which saw brilliant piano riffing, and Florence flaunting her figure dancing in an instrumental break.
But every gig must have it's imperfections. The big issue with Florence comes not from her music, but from her fans, who seem unable to accept a night of spectacular music. Throughout the gig, cameras were raised attempting to record various favourites, although success is doubtful, a possible consolation to those who's views were blocked.
Further irritation was provided as the start of the set was marred with a voice from the crowd screaming "Get your tits out" and "Florence you bitch" which undermined much of the atmosphere. One wonders how long it'll be before Florence loses it, unleashing a rant at the crowd akin to Roger Waters of Pink Floyd during the In The Flesh tour of 1977. But hopefully she'll keep the ditzy persona so integral to her act.
Lastly, the gig solved a question which has plagued many an adolescent male. Is Florence sexy?
She is. But if you ever got a lap dance from her you'd be left feeling very confused, dressed in feathers, and determined to move to the Mojave Desert to find your spirit guide.
Tom Flanagan | |