“I didn’t really talk about it with my mom until really recently. “I never thought I would talk about it,” she said. Its opening line - “At 17, I started to starve myself” - is a reference to an eating disorder that Ms. One of the most challenging songs was “Hunger,” the second single. She spent six months just making demos, mostly on her own. Welch took a producing credit for the first time.
Because I know that I know what I’m doing.”įor this album, Ms. “As a young artist, you can struggle to find your voice, and it takes a while to say, ‘No, I want it to be like this.’ ” Now, she added, “I’m very O.K. “The first time I really found my sound was working with another woman, working with Isa,” Ms. Welch’s early work, including the 2009 breakout “ Dog Days Are Over.” Summers, who plays keys in the group, went on to help produce and write some of Ms. Welch began playing music in her teens in South London, where she grew up. “Florence has definitely gone through a transformation,” said her bandmate Isabella Summers, with whom Ms. Even for an artist who makes anthems out of the confessional - a painful breakup fueled “How Big, How Blue, How Beautiful,” the group’s last album - “High as Hope” represents a new openness, and a new confidence, for Ms.
#FLORENCE WELCH FULL#
“High as Hope,” due June 29, is full of secrets she never thought she’d share, let alone sing and dance about in front of fans. Her New York poem is collected in “Useless Magic,” a book of her lyrics, poetry and drawings that’s out July 10. Welch, 31, is lately very ready to showcase her self-acceptance. “I thought that I would just cement it,” she said, “because maybe if I just had it on there, I could own it somehow, make it a part of myself, or embrace that part that I find difficult.” Welch, the effervescent leader and songwriter of the British rock band Florence and the Machine, has made a specialty of wringing joy from despair, so she didn’t think twice about exposing her loneliness. She wrote a poem about it, “New York Poem (for Polly),” which contained a line that became the title of the fourth Florence and the Machine album, “High as Hope”: “Heady with pagan worship/of water towers/fire escapes, ever reaching/high as hope.”Īnd yet there she was, in an East Village tattoo shop, getting that sad phrase inked on her body while her friend (Polly) looked on. She’d spent a blissful day traipsing around New York with a close friend, visiting bookstores, savoring ice creams and coffee, feeling enamored and alive with the city’s possibilities. The day that Florence Welch got “Always Lonely” tattooed in blocky print on her left arm, she wasn’t lonely at all.
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