Florence + The Machine (2010)
Interview Background
In the wake of her hit rendition of You’ve Got The Love, Florence Welch had morphed from indie favourite to genuine commercial powerhouse. Like the Big Day Out festival booking Nirvana before Nevermind broke them, it felt like the St Jerome’s Laneway Festival team locked in Welch for their 2010 dates just before she became a bonafide hitmaker and her debut album Lungs hit number one in the UK. Speaking to me after landing in Australia for her first dates Down Under, Florence was impeccably polite and sounded like she was managing to keep it together despite her life having dramatically changed in the space of six months. She’s experienced a number of highs and lows as she tussled with fame in the wake of this initial explosion of success, but Florence’s performances on the Laneway Festival were filled with joyous revelry. The shows have grown bigger and her catalogue more expansive, but personally nothing beats the breathless rush of the first Florence + The Machine gig I witnessed on a warm night in February 2010.
The following is an edited version of an interview first published in Rip It Up, February 2010.
Florence + The Machine - In The Grip Of A Hurricane
by Scott McLennan
With her first name derived from the Latin word for ‘flower’ and her middle name taken from a French term for ‘lion’, it’s little wonder Florence Leontine Welch’s debut album Lungs is filled with imagery of flora and fauna. Whether it’s the woodland folk rave in the Dog Days Are Over video, the fluffy bunny she cradles in the album sleeve or her lyrical references to lambs, horses and rabbits, the London singer seems at one with the natural world.
“I’m drawn to this imagery but I couldn’t tell you why,” Welch says. “Perhaps it’s because of the books I’ve read as a child or maybe it’s that I use animals as metaphors for emotions without having to say it out loud in so many words.
“I hope animals like my music, but Lungs is all about connecting with people. Maybe I’ll make an album for animals next?”
Catching alternative radio’s attention with jaw-dropping singles such as Kiss With A Fist and Rabbit Heart (Raise It Up) released under her Florence + The Machine moniker, the striking auburn-haired singer has created strong visuals for Lungs and its assorted promotional facets. Welch is unsure whether her art historian mother is responsible for her interest in arresting imagery to complement the powerful songs.
“Her influence might have leaked into my sub-conscious as I was dragged around to a lot of Italian churches as a child, looking at a lot of frescos and art like that. Maybe in some way it has translated to my work, but I don’t know if it’s directly affected me.”
Latest video You’ve Got The Love’s Studio 54 trappings reflect the cover song’s original disco feel. Initially written as a message to God, Welch suggests her own feelings towards faith aren’t as straight-forward.
“I like hymns and stuff, but I wasn’t brought up in a religious family. I sang in the church choir and my mum took us to church. I think singing can be quite a spiritual experience – you feel like you’re reaching out beyond yourself for something, but you’re not sure what that is. I don’t know if I’m spiritual though, as I’m conflicted.”
On her recent flight to Australia, Welch finally had a chance to enjoy her Hollywood soundtrack debut. Last year during Florence + The Machine’s ascent, Kiss With A Fist was included on the soundtrack to Megan Fox’s bloodsucking Jennifer’s Body film.
“I watched it on the plane over here to Australia and I really liked it. Kiss With A Fist is a sort of segue song that cuts between scenes, so it’s not in any of the bloody scenes or gory bits.”
Florence disputes her film buff status by admitting to enjoying one of Will Ferrell’s biggest stinkers.
“I like Talladega Nights,” Welch laughs. “It’s so bad that I absolutely love it. I don’t know what’s wrong with me. I can completely admit it’s terrible, but I also think it’s so bad it’s amazing.”
Lungs finally hit number one in the UK album chart this month after Michael Jackson posthumously prevented it from the feat on its initial release (“It was in the charts for six months or something and then it went back up to number one, which was crazy,” Welch gasps. “I didn’t know that was allowed to happen.”). Arriving in Australia last week just as four of her songs made formidable entries in Triple J’s Hottest 100 poll, the songwriter had spent the first month of 2010 recording material for the follow-up to Lungs.
“It’s going well. The sound’s quite aggressive and heavy so far, but that’s just the start. Hopefully I’ll record loads and just be able to pick the best bits. There’s one called Strangeness And Charm, which is the latest one I’ve written and I’m quite excited about it.”
Headlining the boutique Laneway Festival, Welch’s live show is quite often a tumultuous extravaganza of mad fashions, wild screams and ADD moves. It’s a long way from the demure artist on the phone to Rip It Up.
“Right now I’m not running around wailing in six inch heels and a bat costume, so there’s a difference,” Welch laughs. “Sometimes things can get quite chaotic, but nothing too disastrous has occurred just yet.”
As her shows grow bigger, Welch has been enjoying utilising a variety of designers to produce her stage costumes.
“I collaborate with a lot of young British designers, which is really exciting. It’s nice to work with people who create custom-made stage designs with bits that are detachable. I had this space octopus costume made for my Brixton Academy show with a detachable skirt which turned into a cape, so that was amazing. It was made my Felder Felder, who are identical twin designers from Germany – two beautiful blonde German girls who are amazing.”
Although she worked on some early demos for Lungs with Blur’s Alex James in 2008, none of his work made it to Welch’s debut.
“He was really nice to me and when I was just starting out I did a little bit of writing with him, but we didn’t do anything on the album together. He was really sweet and I went up to his country house and had a muck around. He has a lovely studio in his garden and it was a really nice thing to do, but nothing really came of it for this album.”
Did he give you some of his famous cheese to taste?
“He did actually! It was very nice. I do like cheese – I quite like cheese and jam. I know it sounds like a crazy suggestion, but cheese and jam is lovely.”
That’s as wacky as enjoying Talladega Nights.
“Try it! Try it!” Welch implores. “Cheddar cheese and red currant jelly is delicious.”
Lungs (UMA)
Unpublished Interview Material
Marina & The Diamonds have already been pegged as 2010’s answer to Florence & The Machine, so is that an honour or does it make you look over your shoulder for those coming over the horizon?
“I think we’re both very different artists and I think Marina’s great – she’s an exciting new artist. There are enough ears out there for everyone to listen to different stuff, isn’t there? I’ve met her and she’s really sweet and I really like her music. There’s enough space for many more exciting female artists – it’s not like there’s only one position that has to be filled.”
You were the only artist in the recent Q Artists Of The Century list with only a single album to your name. Was that daunting being in a list alongside U2, Kings Of Leon, Green Day and Paul McCartney?
“I know! It’s just so bizarre really and I find it very surreal when I find myself alongside artists like that. I’m like, ‘What’s going on?’. The wish to better myself and my own internal dissatisfaction drives me to want to create more. I’m such a perfectionist that I always pick apart things, but I’m too close to Lungs right now to tell you what I don’t like about it. Ask me in a year and I’ll be able to tell you more objectively, but right now I feel too close to the whole project.”
Is it right you banned alcohol at gigs before shows because you’ve been doing silly things?
“Well we haven’t banned it, we just decided it was probably wise not to start drinking three hours before the show. An hour before is alright, but you don’t want to be plastered on stage.”
What’s this about you suffering from dyspraxia, which affects your organisational skills, and dysmetria, which affects your co-ordination?
“I don’t have dysmetria – I think that’s just a Wikipedia rumour. I have dyspraxia, but only very mildly. I was diagnosed with dyspraxia when I was in school, but I don’t think it affects me that much. I’m totally muddle-headed, but I don’t think I’m that dyspraxic – I just lose things all the time.”
One interview said you wanted to have kids by 28, which doesn’t give your fans much time for new material before you quite the spotlight for a while.
“I’d been talking to the journalist about his own kids and said that quite flippantly, since I wouldn’t say it was set in stone.”
Charles from White Lies spoke to me during your NME tour last year and told me you’d collaborated on Unfinished Business a few times live on stage. You’ve also had The XX remix you – is there a strong feeling of unity and solidarity in the UK scene?
"Yeah, well we all tour together and are friends, so it’s nice when you’re living a transient lifestyle to have friends that you meet on the road. There’s a good sense of community among British artists.”
So could you foresee guest appearances on second album?
“I don’t know. It’s such early doors (sic) I couldn’t say.”
In the wake of her hit rendition of You’ve Got The Love, Florence Welch had morphed from indie favourite to genuine commercial powerhouse. Like the Big Day Out festival booking Nirvana before Nevermind broke them, it felt like the St Jerome’s Laneway Festival team locked in Welch for their 2010 dates just before she became a bonafide hitmaker and her debut album Lungs hit number one in the UK. Speaking to me after landing in Australia for her first dates Down Under, Florence was impeccably polite and sounded like she was managing to keep it together despite her life having dramatically changed in the space of six months. She’s experienced a number of highs and lows as she tussled with fame in the wake of this initial explosion of success, but Florence’s performances on the Laneway Festival were filled with joyous revelry. The shows have grown bigger and her catalogue more expansive, but personally nothing beats the breathless rush of the first Florence + The Machine gig I witnessed on a warm night in February 2010.
The following is an edited version of an interview first published in Rip It Up, February 2010.
Florence + The Machine - In The Grip Of A Hurricane
by Scott McLennan
With her first name derived from the Latin word for ‘flower’ and her middle name taken from a French term for ‘lion’, it’s little wonder Florence Leontine Welch’s debut album Lungs is filled with imagery of flora and fauna. Whether it’s the woodland folk rave in the Dog Days Are Over video, the fluffy bunny she cradles in the album sleeve or her lyrical references to lambs, horses and rabbits, the London singer seems at one with the natural world.
“I’m drawn to this imagery but I couldn’t tell you why,” Welch says. “Perhaps it’s because of the books I’ve read as a child or maybe it’s that I use animals as metaphors for emotions without having to say it out loud in so many words.
“I hope animals like my music, but Lungs is all about connecting with people. Maybe I’ll make an album for animals next?”
Catching alternative radio’s attention with jaw-dropping singles such as Kiss With A Fist and Rabbit Heart (Raise It Up) released under her Florence + The Machine moniker, the striking auburn-haired singer has created strong visuals for Lungs and its assorted promotional facets. Welch is unsure whether her art historian mother is responsible for her interest in arresting imagery to complement the powerful songs.
“Her influence might have leaked into my sub-conscious as I was dragged around to a lot of Italian churches as a child, looking at a lot of frescos and art like that. Maybe in some way it has translated to my work, but I don’t know if it’s directly affected me.”
Latest video You’ve Got The Love’s Studio 54 trappings reflect the cover song’s original disco feel. Initially written as a message to God, Welch suggests her own feelings towards faith aren’t as straight-forward.
“I like hymns and stuff, but I wasn’t brought up in a religious family. I sang in the church choir and my mum took us to church. I think singing can be quite a spiritual experience – you feel like you’re reaching out beyond yourself for something, but you’re not sure what that is. I don’t know if I’m spiritual though, as I’m conflicted.”
On her recent flight to Australia, Welch finally had a chance to enjoy her Hollywood soundtrack debut. Last year during Florence + The Machine’s ascent, Kiss With A Fist was included on the soundtrack to Megan Fox’s bloodsucking Jennifer’s Body film.
“I watched it on the plane over here to Australia and I really liked it. Kiss With A Fist is a sort of segue song that cuts between scenes, so it’s not in any of the bloody scenes or gory bits.”
Florence disputes her film buff status by admitting to enjoying one of Will Ferrell’s biggest stinkers.
“I like Talladega Nights,” Welch laughs. “It’s so bad that I absolutely love it. I don’t know what’s wrong with me. I can completely admit it’s terrible, but I also think it’s so bad it’s amazing.”
Lungs finally hit number one in the UK album chart this month after Michael Jackson posthumously prevented it from the feat on its initial release (“It was in the charts for six months or something and then it went back up to number one, which was crazy,” Welch gasps. “I didn’t know that was allowed to happen.”). Arriving in Australia last week just as four of her songs made formidable entries in Triple J’s Hottest 100 poll, the songwriter had spent the first month of 2010 recording material for the follow-up to Lungs.
“It’s going well. The sound’s quite aggressive and heavy so far, but that’s just the start. Hopefully I’ll record loads and just be able to pick the best bits. There’s one called Strangeness And Charm, which is the latest one I’ve written and I’m quite excited about it.”
Headlining the boutique Laneway Festival, Welch’s live show is quite often a tumultuous extravaganza of mad fashions, wild screams and ADD moves. It’s a long way from the demure artist on the phone to Rip It Up.
“Right now I’m not running around wailing in six inch heels and a bat costume, so there’s a difference,” Welch laughs. “Sometimes things can get quite chaotic, but nothing too disastrous has occurred just yet.”
As her shows grow bigger, Welch has been enjoying utilising a variety of designers to produce her stage costumes.
“I collaborate with a lot of young British designers, which is really exciting. It’s nice to work with people who create custom-made stage designs with bits that are detachable. I had this space octopus costume made for my Brixton Academy show with a detachable skirt which turned into a cape, so that was amazing. It was made my Felder Felder, who are identical twin designers from Germany – two beautiful blonde German girls who are amazing.”
Although she worked on some early demos for Lungs with Blur’s Alex James in 2008, none of his work made it to Welch’s debut.
“He was really nice to me and when I was just starting out I did a little bit of writing with him, but we didn’t do anything on the album together. He was really sweet and I went up to his country house and had a muck around. He has a lovely studio in his garden and it was a really nice thing to do, but nothing really came of it for this album.”
Did he give you some of his famous cheese to taste?
“He did actually! It was very nice. I do like cheese – I quite like cheese and jam. I know it sounds like a crazy suggestion, but cheese and jam is lovely.”
That’s as wacky as enjoying Talladega Nights.
“Try it! Try it!” Welch implores. “Cheddar cheese and red currant jelly is delicious.”
Lungs (UMA)
Unpublished Interview Material
Marina & The Diamonds have already been pegged as 2010’s answer to Florence & The Machine, so is that an honour or does it make you look over your shoulder for those coming over the horizon?
“I think we’re both very different artists and I think Marina’s great – she’s an exciting new artist. There are enough ears out there for everyone to listen to different stuff, isn’t there? I’ve met her and she’s really sweet and I really like her music. There’s enough space for many more exciting female artists – it’s not like there’s only one position that has to be filled.”
You were the only artist in the recent Q Artists Of The Century list with only a single album to your name. Was that daunting being in a list alongside U2, Kings Of Leon, Green Day and Paul McCartney?
“I know! It’s just so bizarre really and I find it very surreal when I find myself alongside artists like that. I’m like, ‘What’s going on?’. The wish to better myself and my own internal dissatisfaction drives me to want to create more. I’m such a perfectionist that I always pick apart things, but I’m too close to Lungs right now to tell you what I don’t like about it. Ask me in a year and I’ll be able to tell you more objectively, but right now I feel too close to the whole project.”
Is it right you banned alcohol at gigs before shows because you’ve been doing silly things?
“Well we haven’t banned it, we just decided it was probably wise not to start drinking three hours before the show. An hour before is alright, but you don’t want to be plastered on stage.”
What’s this about you suffering from dyspraxia, which affects your organisational skills, and dysmetria, which affects your co-ordination?
“I don’t have dysmetria – I think that’s just a Wikipedia rumour. I have dyspraxia, but only very mildly. I was diagnosed with dyspraxia when I was in school, but I don’t think it affects me that much. I’m totally muddle-headed, but I don’t think I’m that dyspraxic – I just lose things all the time.”
One interview said you wanted to have kids by 28, which doesn’t give your fans much time for new material before you quite the spotlight for a while.
“I’d been talking to the journalist about his own kids and said that quite flippantly, since I wouldn’t say it was set in stone.”
Charles from White Lies spoke to me during your NME tour last year and told me you’d collaborated on Unfinished Business a few times live on stage. You’ve also had The XX remix you – is there a strong feeling of unity and solidarity in the UK scene?
"Yeah, well we all tour together and are friends, so it’s nice when you’re living a transient lifestyle to have friends that you meet on the road. There’s a good sense of community among British artists.”
So could you foresee guest appearances on second album?
“I don’t know. It’s such early doors (sic) I couldn’t say.”
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