The title track of Everybody Scream serves as an electrifying introduction to Florence + the Machine’s sixth studio album. This opening piece is characterized by a sinister organ melody and a haunting choir that evokes a horror-themed atmosphere. Almost immediately, the mood shifts as a stomping glam rock rhythm takes over, featuring cries of “Dance!” and “Turn!” that replace the traditional shouts of “Hey!” associated with 70s glitterbeat.
This album challenges the common perception that any project featuring co-producer Aaron Dessner—known for his work with Taylor Swift on Folklore and Evermore, Ed Sheeran’s Autumn Variations, and Gracie Abrams’ The Secret of Us—is synonymous with tastefully hued indie folk. Instead, the sound of Everybody Scream offers a vibrant backdrop for Florence Welch to explore her complex relationship with fame.
In her lyrics, Welch reveals her ability to become her “full size” only on stage, expressing a compelling enjoyment in the control she wields over her audience, described as “breathless and begging and screaming.” However, she also highlights the darker side of this fame: “Look at me run myself ragged, blood on the stage,” she sings, pondering the seemingly inescapable pull of her audience, “But how can I leave when you’re calling my name?”
Throughout the album, themes of paganism, witchcraft, and the mysticism of 14th-century figure Julian of Norwich intertwine with Welch’s reflections on fame. The central theme of Everybody Scream revolves around the tumultuous relationship with fame and the compulsive urge to perform, which can lead to unhealthy consequences. This resonates deeply, especially in light of the challenges Welch faced in 2023, including a life-threatening situation stemming from a miscarried ectopic pregnancy during her tour.
In the track One of the Greats, featuring gritty guitar reminiscent of the Velvet Underground, Welch candidly addresses her personal struggles, blending humor and vulnerability. Songs like Music by Men delve into a relationship in crisis, where she navigates the complexities of blame and self-criticism, noting that “there’s not much applause” offstage.
Seventeen years after her debut single, Kiss with a Fist, Welch has solidified her position as one of the most successful British alt-rock artists of her generation, rivaled only by the Arctic Monkeys. Her influence on contemporary pop is undeniable, having been sampled by artists like Kendrick Lamar and Drake, collaborating with Taylor Swift and Lady Gaga, and inspiring vocal powerhouses such as Beyoncé. On One of the Greats, she reflects on the lukewarm critical reception of her early work, attributing it to sexism while employing smart humor to counter it.
Welch’s signature theatricality is a compelling aspect of Everybody Scream, ensuring that listeners will not leave disappointed by a lack of grand choruses or impassioned vocal performances. However, the album offers a surprising range of dynamics, with tracks like Drink Deep and You Can Have It All demonstrating a desire for contrast, allowing more subdued moments like Music by Men to shine.
With tracks such as Witch Dance and Sympathy Magic, the album delivers a blend of high-energy elements and introspective lyrics. Everybody Scream also features more intimate songs like Perfume and Milk and Buckle, showcasing Welch’s journey through her unique position among her contemporaries from 2008. Ultimately, this album is a testament to her evolution as an artist, revealing a depth and musicality that transcends the caricature often associated with Florence + the Machine.
