Florence Welch dedicated this fifth album to what she missed so much during the pandemic: dancing with other people.
Posted at 2:00 p.m.
But long before the British artist had to confine herself to London, when she was in New York with director Jack Antonoff, she was fascinated by a Renaissance phenomenon called “choreomania” in which people, sometimes brought together thousands, dance frantically until exhaustion and even, sometimes, to their loss.
This image, which inspired Florence Welch (like the film Dracula)is not new to her repertoire: there has always been a ceremonial aspect to the music of Florence + The Machine – with the idea of being saved – it is still screaming on Dance Fever. This time, however, there are folk-rock sounds seventies – and less piano – than on previous albums.
Femininity and feminism are also at the heart of the album. “ I am no mother, I am no bride, I am king », sings Florence Welch on the opening piece, King.
There is spoken word on Heaven Is Here. All in sobriety, Back In Town is rather gospel. On Cassandra, Florence Welch is at the peak of her art in a skilful blend of euphoria, fervor and poetry. In fact, she is throughout Dance Fever. However, you will have understood that the 14 songs are not so much intended for a discotheque as for a need for introspective release. We would have taken more pop anthems like Free and Mon Amour (directed by Dave Bayley of Glass Animals).
It is all in all a very high caliber album although we are witnessing a certain repetition of Florence Welch’s sacred quests.
Pop rock
Dance Fever
Florence + The Machine
Universal