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Florence and the Machine Announce 2022 North American Tour

By Allison Hussey

Florence and the Machine have announced a North American tour that picks up in September. Arlo Parks, King Princess, Sam Fender, Yves Tumor, Japanese Breakfast, and Wet Leg are all set to take opening slots in different cities. See the full schedule below.

Earlier this month, Florence Welch announced Dance Fever , her first new album since 2018’s High as Hope . She’s shared three singles from the album so far: “ My Love ,”“Heaven Is Here,” and “ King .” Welch co-produced Dance Fever with Jack Antonoff and Glass Animals’ Dave Bayley, and the album arrives on May 13.

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Florence and the Machine:

04-29 Los Angeles, CA - Los Angeles Theatre 05-06 New York, NY - Alice Tully Hall at Lincoln Center 09-02 Montreal, Quebec - Place Bell * 09-03 Toronto, Ontario - Budweiser Stage * 09-07 Chicago, IL - Huntington Bank Pavilion at Northerly Island † 09-08 St. Paul, MN - Xcel Energy Center † 09-10 Clarkson, MI - Pine Knob Music Theatre † 09-12 Washington, D.C. - Capital One Arena † 09-14 Boston, MA - TD Garden † 09-16 New York, NY - Madison Square Garden † 09-20 Nashville, TN - Ascend Amphitheater ‡ 09-21 Alpharetta, GA - Ameris Bank Amphitheatre ‡ 09-23 Orlando, FL - Amway Center ‡ 09-24 Miami, FL - FTX Arena ‡ 09-27 Austin, TX - Moody Center § 09-28 Irving, TX - The Pavilion at Toyota Music Factory § 10-01 Denver, CO - Ball Arena  10-04 Vancouver, British Columbia - Rogers Arena # 10-06 Seattle, WA - Climate Pledge Arena % 10-07 Portland, OR - Theater of the Clouds # 10-09 Mountain View, CA - Shoreline Amphitheatre % 10-12 San Diego, CA - Cal Coast Credit Union Open Air Theatre % 10-14 Los Angeles, CA - Hollywood Bowl

* with Arlo Parks † with Sam Fender ‡ with King Princess § with Yves Tumor # with Japanese Breakfast % with Wet Leg

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By Jazz Monroe

By Madison Bloom

By Matthew Strauss

Florence Welch: ‘Who am I kidding? I’m a showboat!’

As the first Florence + the Machine album in four years is released, Florence Welch talks about the irresistible ‘monster of performance’, the conflict between career and motherhood, and sounding like ‘Nick Cave at the club’

T he other night, in an unusually high spring wind, Florence Welch’s electronic doorbell malfunctioned, repeatedly ringing through the small hours as though pressed by the finger of some ghostly hand. Sleep has always been a sensitive issue (her manager used to have to wake her very carefully on tour), so she went out and ripped the entire unit off the wall. As a child – in fact, not only as a child, but until she was 26 years old, had two No 1 albums and had performed with the Rolling Stones – Welch slept on a mattress on the floor of her mother’s living room, with books stacked around her head and three of her late grandmother’s paintings forming a makeshift headboard, which would regularly fall on her.

Her first bedroom had been decoupaged right up to the ceiling – an attempt to externalise the contents of her head: “I would have been 10. Some girls at school were being mean to me and I just remember sitting at home thinking” – she affects a melodramatic voice – “‘If they would just see this room, they would understand and they would love me!’”

Dance Fever is Welch’s first album in four years. Like Ed Sheeran or Adele, she is a survivor of that tense period at the end of the 00s when the industry decided that no one was buying recorded music any more. Her rise was steep and surprising: at 23, her debut album, Lungs , launched her on an 18-leg world tour that culminated in support slots for U2. Big gigs, and a big voice, made her a household name but her artistic paraphernalia has always been part of the package: there was a book club with fans (it’s still running) and a couple of years back, a volume of Welch’s poetry .

Today, she sits in a small room in the garden of an art gallery in Camberwell, near where she grew up and attended art college for a while. Four or five large rings chime on her expressive hands: her hair is whirled into a high ponytail which she occasionally releases, with a flick of her fingers, to punctuate a joke or a moment of drama, before piling it back up again.

Welch’s parents divorced when she was 13, and when her mother, an esteemed history professor, married their next-door neighbour, she acquired two new siblings overnight and became even more protective of her own space (her little brother slept in the linen closet). But her stepfather’s late wife had left behind an Arts and Crafts chandelier and a huge gothic fireplace, both of which fed into an aesthetic that has never left her – 13 years after her debut album she still puts one in mind of John Singer Sargent’s Ellen Terry , or the Lady of Shalott in a vintage Laura Ashley dress.

The Florence machine: career highlights

Florence Leontine Mary Welch is born in Camberwell, south London, on 28 August to advertising executive Nick Russell Welch and Evelyn Welch, professor of Renaissance studies.

When Welch is 13, her parents divorce; her mother later marries immunologist and lung specialist Peter Openshaw. Welch is educated at Thomas’s prep school, Battersea, and Alleyn’s school, south-east London; she later starts studying at Camberwell College of Arts before dropping out.

Welch begins performing with musician Isabella Summers under the name Florence Robot/Isa Machine. The following year she records with the band Ashok, releasing the album  Plans .

After being promoted as part of BBC Introducing, Florence + the Machine’s debut studio album,  Lungs , tops the UK albums chart after charting for 28 consecutive weeks; it later wins a Brit award for best British album.

The band’s second album,  Ceremonials , debuts at No 1 in the UK and No 6 on the US Billboard 200.

Welch sings on Calvin Harris's single Sweet Nothing, which is nominated for a Grammy. She performs Gimme Shelter with the Rolling Stones at the O2 in London.

Florence + the Machine's third album,  How Big, How Blue, How Beautiful , is released. They headline Glastonbury festival after the Foo Fighters pull out.

Welch appears in the Terrence Malick film  Song to Song .

The band’s fourth album,  High As Hope , is released. Welch releases the book  Useless Magic , a collection of lyrics, poems and illustrations.

The fifth Florence + the Machine album,  Dance Fever , is released. Kathryn Bromwich

In person, Welch does not have the imperious air she has on stage: she seems to arrive filterless, fizzing with a nervy but rather humorous energy. In the video for her latest song, Free , she plays herself, while Bill Nighy has a cameo as her “anxiety”. Interviews are hard work, she says – she likes to schedule a day off afterwards to lie down. Harder than being on stage for two hours? “I think so, yes, because that’s scripted and you’re in control.”

Being on stage was, of course, a moot point until recently – this summer, she will tour for the first time in three years. Everyone knows that musicians had a terrible time in the pandemic but Welch, with her unusual directness, is a useful person to ask about it. What did she really think her prospects were?

“My mum said: ‘You’ll find something else to do,’” she says. “It felt incredibly final. I don’t know if that’s because musicians and performers lean towards dramatic thinking, but the reality was no one could say, before there was a vaccine, if gigs would ever come back. Maybe in five years, seven years. I often think about everyone meandering back into the world now with so much unprocessed PTSD.”

Welch told her mother: “I don’t really want to exist in a world where I can’t do the thing I feel like I was put on this Earth to do. The thing that gives me meaning, that makes the jumble in my head – which is a sort of screaming nightmare a lot of the time – make sense.” In print, this sounds a bit overblown but in person, she sounds almost apologetic.

Lately, she has been musing on what she calls the “monster of performance” – how it comes round every two years and swallows you up for a world tour. When it slunk off during the pandemic she felt “bereft”. In March 2020, she was in New York, writing songs for Dance Fever , with Jack Antonoff, known for his work with Lorde and Lana Del Rey. Back in south London, in lockdown, she moved her boyfriend in to her flat and wrote “sad little poems” instead, which turned into songs such as My Love (“my arms emptied, the skies emptied, the buildings emptied”). Unable to dance on stage, she danced in her kitchen (“I’m actually really good at wombling around in socks”). Yet Dance Fever , which was eventually produced in the UK with Dave Bayley from indie band Glass Animals, is no disco record. It may be high in BPM, but much of what she’s put on top is dark, strident, mournful: she has called it “Nick Cave at the club”.

She became fascinated with a historical phenomenon called choreomania, first recorded in the Holy Roman Empire in 1374, in which large groups of men, women and children would dance themselves into a manic state, to the point of exhaustion and occasionally death. There is a similar scene in Ari Aster’s Midsomm ar , one of the horror movies she watched during lockdown. In the video for Heaven Is Here , the first track released from Dance Fever , directed by the film-maker Autumn de Wilde, Welch and seven dancers in Victorian dresses throw their bodies around like bags of bones. The video was filmed in Kyiv a few weeks before the outbreak of war. Two of the dancers, Nastia and Maryne, are now refugees – when we spoke last month, Welch had tracked Nastia to Amsterdam but was still trying to locate Maryne.

“We had made it through the pandemic, everyone was so happy to be working again, and the general sense from the team was of freedom, of celebration,” she recalls. “And for them to not know what was around the corner – that it wouldn’t in any way bring people together, that we would emerge to be engulfed in another horror. I can’t even… I said to my Ukrainian friend: ‘I feel so helpless.’ She said: ‘It’s not helpless, we’re still holding on. I’ve never been sadder and I’ve never been prouder.’”

F lorence Welch has clocked up an impressive career, one that spans the key moments in pop’s digital age. In 2009, she was described as the boho art-school alternative to pop urchins Kate Nash and Lily Allen, which really takes you back. Her apparent class privilege initially provoked some sneering reviews, and her jump to fame was questioned when she won the Brits critics’ choice award after just two singles. When she heard she’d won, she had a panic attack in a branch of Caffè Nero, as she later told the journalist Pete Paphides: “Why? Because I had done nothing and I was getting an award for it.” Welch emerged in an era, at the start of the digital landgrab, when new artists would arrive to great fanfare before they knew how to sing live, or even had an album to promote (often, by the time the album emerged, no one was interested any more).

Of her sudden rise to fame she says: “Although I’m grateful for it, it would have been good to have been allowed a bit more time to find my feet. The whole of Ceremonials [her second record] is just an album about someone being under so much pressure that they want to be at the bottom of the ocean.”

But as the music industry debates moved on, so apparently did the meaning of Welch. In 2011, during anxieties over controversial Rihanna videos, she was celebrated for her cleavage-covering frocks. “Parents who worry that their teenage daughters have few pop role models other than the intemperately sexual Rihannas of the world should be pleased that Florence Welch is back,” said one reviewer .

And here she is, still on the scene. From the start, she savvily put her focus on huge gigs. She supported U2 on her first tour. But when I ask her what she learned from joining the Rolling Stones on stage at the O2 in November 2012, she goes unexpectedly pink.

“I thought I knew the words to Gimme Shelter,” she says, “but I realised when I got to rehearsal that I didn’t know the specific words… I thought: ‘It’s the Rolling Stones, it’s a rock band, they’ll probably just wing it.’ Then I realised Mick Jagger doesn’t wing anything.”

Jagger clocked the fact that Welch didn’t know the lyrics to the song he’d invited her to perform for an audience of 20,000. “It’s ‘rape, murder’,” he corrected, when she gave a formless, emotive wail. “I remember running off to sit in the loos with the words after that. That’s what Mick Jagger taught me: fucking learn your lines.”

She still feels traces of the old anxieties she felt at the start of her career. “Is it the loss of anonymity?” she wonders. “The loss of who you might have been had you not become famous? The loss of a private person, someone who will walk through the street and be unknown?”

Would she welcome that anonymity back?

“Who am I kidding? I’m a fucking showboat.”

“F or someone who drank so much,” she observes, “it was so clear from the start I wasn’t suited to it. Even without the drinking and hangovers, I’m an incredibly anxious person with a lot of ups and downs. How did I manage?” She has been sober since 2014; at her lowest points, she’d fail to show up to studio sessions, or when she did, get through the days with monumental hangovers, “pulling songs out of me. I’d be so hungover that making work was kind of agony.”

She drank to perform – and when tours ended, she whirled from one experience to another, waking up in strange places, losing days in one endless, slightly terrifying afterparty.

In 2018, in the lyrics to her song Hunger , Welch wrote about an eating disorder in her teenage years (“At 17 I started to starve myself”). She filled her life with anxiety about food, relationship chaos and alcohol – “and now I’m 35,” she says, “things are relatively stable, and all the things that I would be spinning to distract me from myself have stopped, because I’ve identified what they are. They don’t work any more; I’m too tired to have relationship chaos, I can’t do it! I don’t have time for people who don’t text me back. It doesn’t give me the same drug that it did.”

Instead, she says, “being in the flow of making a song is one of my absolute favourite places to be. And that really has got so much better since I got sober: it’s such a lie that chaos is creativity.”

Without the old crutches of bad men and booze, Welch has had to face older psychological complexes. “All the things that I ran from, I now bring as close to me as I can,” she sings on her new song Prayer Factory. So, what are those things she ran from? “It’s so boring,” she says, with a collapse of the ponytail: “I want to be the one person who says: ‘It’s not my childhood! It’s not my mum!’”

In the previous chapters of Welch’s story, Evelyn Welch, soon to become the first female vice-chancellor of Bristol University, has featured as a gently disapproving voice, once saying “what a waste of a brain” when her daughter told her she could remember every outfit she’d ever worn, and approaching Florence’s career with an “I don’t want to talk about your music, I care about you” attitude.

I ask Welch whether she feels any creative affinity with the Renaissance scholar, who has specialisms in the early modern fashion economy, and gives a dazzling lecture. “No, she lives in her head,” she replies. “She lives almost entirely in her head, in academia. She was always writing books when we were younger, and she’s very happy on her own with her books and her work. My sister wanted warmth, a consistent or traditional mothering, but I admired someone who could live in her head, because I did the same. Which is good and bad, because I’m very good at being loved from a distance – I think that says so much about going on and being famous…”

Although these days she describes her mother as “quite sweetly proud of her”, it is refreshing to hear a pop star analyse their need for the adulation of crowds, and admit they have no problem whatsoever with being loved at a remove. Being loved close up, by contrast, “kind of feels like being crushed”, Welch says in Girls Against God. She is now in a stable relationship with an unnamed and very “maternal” man, and that presents a whole new challenge. “I keep thinking that what I really want is to be in a room, on my own, with my dreams and fantasies and my weird house-slash-art-installation. But then the clock ticks forward a couple of hours, and you realise that you’re alone, and this thing that you think has worked for you for so long is not sustaining you any more.”

When she took off for New York before the pandemic, she was 33: the intention, she says, was to have “one last year to be completely insane, one last year under the wire, before getting serious”.

There seems to be, at the heart of Dance Fever , a desire to talk about motherhood in a new way: “To be a performer,” she writes in an accompanying press statement, “but also to want a family, might not be as simple for me as it is for my male counterparts.” Welch wants to look more deeply at the split inside female performers when faced with the assumption that should they want to have children, they’ll disappear for five years, or remake their career in a new image entirely. What if you want children but don’t want to stop? Are you allowed to say that?

“I think we’re still at the very beginning of women not dropping out,” she says. “We’re at the start of a conversation. There’s a lot more female artists out there. There’s more space for us. It felt like you were on your own at the beginning.”

She is pretty upfront about it all and she’s doing the maths. She’s 35. The album and world-tour cycle takes two years, and she’s just got one coming up. The gap between 35 and 40 suddenly seems rather small. Touring is a bodily commitment, and so is pregnancy. The desire for a child creeps on, she jokes, “like body horror”, spreading her long fingers up from her waist.

She raises an eyebrow at her parents’ generation who say they just got on with it, and let their babies sleep in baskets under the table in the pub. “People go into it saying: ‘I want to have a baby but I don’t want my life to change.’ It is completely upended. I don’t think I’m under any illusions about what it entails.”

She told her boyfriend she wished he was the one with the womb. She would make “a great, unreconstructed 1950s father”, she says: “I love providing, I love being out there and being off and coming back and being fun and being cuddled.” While making music is a “fever”, the desire for motherhood is a “haunting” – an encroaching feeling of wanting something different, of the old ways not working any more.

“The irony is, it’s all converged at this time where I felt like I really knew what I was doing, finally,” she says. “I’ve figured out how to be responsible for myself and my work and show up for it. I’m finally able to be in control of it in ways that I never have before, but then there’s this creeping sense of being irresponsible about something else, for fuck’s sake…”

The desire to settle down to some domestic life – this new, “creeping body horror” – still feels illogical. If she doesn’t do it, if she “makes that sacrifice”, then she needs to be the best, she tells me. But she wants it, and that’s the problem.

O ne of the things you often hear about Welch, and it’s generally from middle-aged men, is “my 12-year-old daughter likes her”. That first wave of 12-year-olds are getting on for 25 now, and Welch has not mastered TikTok – unlike Madonna – so whether she amasses a new generation of child fans remains to be seen. Meanwhile, there are other changes in her crowd. Around 2015, she started to experiment with suits on stage – “through osmosis, watching male performers, it was the physicality that I took on board” – and noticed that once she did so, she started getting headline slots, including 2015’s Glastonbury festival. “I thought: ‘Did I get through the door by evoking something familiar?’ It wasn’t intentional, but it was interesting that it changed when I became this masculine figure.”

Welch has never shied away from the God delusions of rock and pop stars, and Dance Fever is full of them. She positions herself as next in line to the Micks and Iggys of the world: “You said that rock’n’roll is dead but is that just because it has not been resurrected in your image? Like if Jesus came back but in a beautiful dress.” Does she consider herself a rock star?

“Pop star and rock star, I don’t really know what they mean now,” she says. “Honestly, some of the people who would be considered ‘pop’ stars are the most rock’n’roll people I know.”

“Like Rosalía and Charli XCX, and Lizzo – they’re embodying this spirit of rock’n’roll. They’re doing exactly what they want, and the joyful confidence of it, and the attitude…”

She was always ashamed, she says, of her own “genrelessness”. “I felt like if I had a genre and I could stick to it, that’s when they’d take me seriously.” But men are “getting better at it” she says – meaning, they’re getting better at liking Florence + the Machine. “More men seem to take it seriously than they did before. I don’t know if it’s just longevity. Because I’ve stuck around, things seem to be changing for me. There’s been different phases but I think generally, who I am and what I like hasn’t really changed. Occasionally I’ve flirted with minimalism but it never really worked! People are finally thinking: ‘Oh, this is real! This is just the way she is.’” Not long after Florence + the Machine first emerged, there was another debate in the music industry, fuelled by the internet, about how real or fake you were as an artist – as people’s previous musical incarnations, before they hit on the aesthetic that sold them, were found to be on display on YouTube, in open-mic clips, for ever more. But there is no alternative Welch hidden away, and what you see before you, in the vintage Laura Ashley dress, has its roots far back, in a gothic fireplace, decoupaged walls and a grandmother’s paintings falling on her head. She still decorates her hotel rooms with shawls and candles when she goes on tour.

A while back, she expanded on the events that fed into her formative years, after her parents’ divorce, revealing that her grandmother killed herself when she was 14. Today she tells me: “She jumped from her apartment in New York. She sat on the window ledge for a while, I think. She was manic depressive, she’d read all night and sleep during the day, and then the whole cycle would begin again.”

Welch has considered the shadows passed from grandmother to mother and daughter: “I think her pain echoed down to my mother and then to me. My mother has put an absolute lid on it, in the most impressive way. I didn’t inherit the lid, you know; I’m leaky and everything pours out.”

She has started to become more distrustful of the introversion she has always fetishised. “The comfort of being alone with just my books and my things and just me in my head – it’s not working any more. People are good. Letting people in is good.”

Dance Fever by Florence + the Machine is out now on Polydor. A UK and Ireland tour starts in Cardiff on 16 November.

Read Kitty Empire’s review of Dance Fever

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Arlo Parks, Sam Fender, King Princess, Yves Tumor, Japanese Breakfast and Wet Leg will join as support on select dates.

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Florence + the Machine are set to play an extended run of North American headline dates later this year, kicking off September 2 in Montreal with further stops including New York’s Madison Square Garden, Los Angeles’ Hollywood Bowl and many more. One dollar from every ticket sold will benefit Choose Love to aid refugees worldwide.

Arlo Parks, Sam Fender, King Princess, Yves Tumor, Japanese Breakfast and Wet Leg will join as support on select dates throughout the tour. See full routing below and visit Florence + The Machine’s official site for further information.

American Express Card Members can purchase tickets in select markets before the general public beginning Tuesday, March 29 at 10am local time through Thursday, March 31 at 10pm local time.

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The tour will celebrate the release of Florence Welch’s forthcoming, highly anticipated fifth album Dance Fever , out on May 13 . Florence has shared three songs from the album—“My Love,” “King” and “Heaven is Here” – all of which arrived alongside videos by the acclaimed director Autumn de Wilde with choreography by Ryan Heffington.

Additionally, Florence will play two very special, intimate shows this spring: April 29 in Los Angeles at the Los Angeles Theatre and May 6 at Lincoln Center’s Alice Tully Hall in New York—both shows sold out in seconds.

Dance Fever was recorded in London over the course of the pandemic in anticipation of the world’s reopening. It conjures up what Florence missed most in the midst of lockdown—clubs, dancing at festivals, being in the whirl of movement and togetherness—and the hope of reunions to come.

Just before the pandemic Florence had become fascinated by choreomania, a Renaissance phenomenon in which groups of people—sometimes thousands—danced wildly to the point of exhaustion, collapse and death. The imagery resonated with Florence, who had been touring nonstop for more than a decade, and in lockdown felt oddly prescient.

The image and concept of dance, and choreomania, remained central as Florence wove her own experiences of dance—a discipline she turned to in the early days of sobriety—with the folkloric elements of a moral panic from the Middle Ages. In recent times of torpor and confinement, dance offered propulsion, energy and a way of looking at music more choreographically.

Starting, as ever, armed with a notebook of poems and ideas, Florence had just arrived to New York in March 2020 to begin recording when Covid-19 forced a retreat to London. Holed up at home, the songs began to transform, with nods to dance, folk, ‘70s Iggy Pop , longing-for-the-road folk tracks a la Lucinda Williams or Emmylou Harris and more, ultimately arriving somewhere that Florence describes as “Nick Cave at the club.” Lyrically, she took inspiration from the tragic heroines of pre-Raphaelite art, the gothic fiction of Carmen Maria Machado and Julia Armfield, the visceral wave of folk horror film from The Wicker Man and The Witch to Midsommar .

Dance Fever is an album that sees Florence at the peak of her powers, coming into a fully realized self-knowledge, poking sly fun at her own self-created persona, playing with ideas of identity, masculinity and femininity, redemption and celebration.

Pre-order Dance Fever .

FLORENCE + THE MACHINE NORTH AMERICAN TOUR DATES:

April 29: Los Angeles Theatre, Los Angeles, CA May 6: Alice Tully Hall at Lincoln Center, New York, NY September 2: Place Bell, Montreal, QC September 3: Budweiser Stage, Toronto, ON September 7: Huntington Bank Pavilion at Northerly Island, Chicago, IL September 8: Xcel Energy Center, St. Paul, MN September 10: Pine Knob Music Theatre, Clarkson, MI September 12: Capital One Area, Washington, D.C. September 14: TD Garden, Boston, MA September 16: Madison Square Garden, New York, NY September 20: Ascend Amphitheater, Nashville, TN September 21: Ameris Bank Amphitheatre, Alpharetta, GA September 23: Amway Center, Orlando, FL September 24: FTX Arena, Miami, FL September 27: Moody Center, Austin, TX September 28: The Pavilion at Toyota Music Factory, Irving, TX October 1: Ball Arena, Denver, CO October 4: Rogers Arena, Vancouver, BC October 6: Climate Pledge Arena, Seattle, WA October 7: Theater of the Clouds, Portland, OR October 9: Shoreline Amphitheatre, Mountain View, CA October 12: Cal Coast Credit Union Open Air Theatre, San Diego, CA October 14: Hollywood Bowl, Los Angeles, CA.

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Florence + The Machine Announce North American Tour: See The Dates

By Katrina Nattress

March 28, 2022

Florence + The Machine are gearing up to release their latest album Dance Fever on May 13, and a few months later they'll be touring North America in support.

After a pair of “special, intimate shows” on April 29 in Los Angeles and May 6 in New York, Florence Welch and company plan to head back to North America in September, beginning their trek on September 2 in Montreal and wrapping up October 14 in LA. Arlo Parks, Sam Fender, King Princess, Yves Tumor, Japanese Breakfast and Wet Leg will support on various dates, and one dollar from every ticket sold will benefit  Choose Love  in its mission to aid refugees worldwide.

Tickets go on sale Friday (April 1) at 10am local time. Get more info at Florence + The Machine's official website , and check out the announcement plus a full list of dates below.

Dance Fever North America 🌕✨ With support from @arloparks , @samfendermusic , @wetlegband , @KingPrincess69 , @Jbrekkie & @YvesTumor on selected dates. See poster for full details.🩸🫀 General sale Fri April 1st, 10am local. $1 from every ticket sold will be donated to @chooselove pic.twitter.com/4jKxJK9DT3 — florence welch (@florencemachine) March 28, 2022

Florence + The Machine North American Tour Dates

April 29 Los Angeles Theatre Los Angeles, CA

May 6 Alice Tully Hall at Lincoln Center New York, NY

September 2 Place Bell Montreal, QC*

September 3 Budweiser Stage Toronto, ON*

September 7 Huntington Bank Pavilion at Northerly Island Chicago, IL†

September 8 Xcel Energy Center St. Paul, MN†

September 10 Pine Knob Music Theatre Clarkson, MI†

September 12 Capital One Area Washington, D.C.†

September 14 TD Garden Boston, MA†

September 16 Madison Square Garden New York, NY†

September 20 Ascend Amphitheatre Nashville, TN‡

September 21 Ameris Bank Amphitheatre Alpharetta, GA‡

September 23 Amway Center Orlando, FL‡

September 24 FTX Arena Miami, FL‡

September 27 Moody Center Austin, TX§

September 28 The Pavilion at Toyota Music Factory Irving, TX§

October 1 Ball Arena Denver, CO

October 4 Rogers Arena Vancouver, BC**

October 6 Climate Pledge Arena Seattle, WA††

October 7 Theater of the Clouds Portland, OR**

October 9 Shoreline Amphitheatre Mountain View, CA††

October 12 Cal Coast Credit Union Open Air Theatre San Diego, CA††

October 14 Hollywood Bowl Los Angeles, CA

*with Arlo Parks

†with Sam Fender

‡with King Princess

§with Yves Tumor

**with Japanese Breakfast

††with Wet Leg

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Florence and the Machine Announce North American Tour

By Althea Legaspi

Althea Legaspi

Florence and the Machine  announced a North American tour, which kicks off this summer and continues through the fall. St. Vincent, Lizzo, Kamasi Washington, Grizzly Bear, Perfume Genius, Beth Ditto, Billie Eilish and Wet will open for the band on various dates.

The 23-date tour begins at Osheaga in Montreal, QC, Canada, before a string of dates on the west coast in the United States and a stop in Vancouver, BC, Canada. It then continues through the south, east coast, heads to Toronto, ON, Canada and then wraps in the Midwest at Target Center in Minneapolis, Minnesota. Tickets go on sale on Friday.

Florence and the Machine , which  opened for the Rolling Stones over the weekend, will be releasing their fourth studio album, High as Hope , on June 29th via Republic. Earlier this month, they released the LP’s first single, “Hunger,” which they performed on the season finale of The Voice   and also  during  The Tonight Show .

Come for the Torture, Stay for the Poetry: This Might Be Taylor Swift's Most Personal Album Yet

Scott weiland's son brushes off blackmail threat, releases new song with late dad's vocals, madonna sued again for late concerts: 'a consumer's worst nightmare', taylor swift reveals meaning behind songs in 'the tortured poets department'.

Florence and the Machine Tour Dates August 5 – Montreal, QC, Canada @ Osheaga August 9 – Lake Tahoe, Nevada @ Lake Tahoe Outdoor Arena at Harveys* August 11 – San Francisco, California @ Outside Lands September 8 – Vancouver, BC, Canada @ Skookum Festival September 10 – Seattle, Washington @ KeyArena** September 11 – Portland, Oregon @ Moda Center** September 14 – Salt Lake City, Utah @ Maverik Center** September 15 – Denver, Colorado @ Grandoozy Festival September 22 – Las Vegas, Nevada @ Life is Beautiful September 23 – San Diego, California @ Viejas Arena at Aztec Bowl*** September 25 – Los Angeles, California @ Hollywood Bowl*** September 29 – Dallas, Texas @ The Pavilion at Toyota Music Factory*** September 30 – Houston, Texas @ The Cynthia Woods Mitchell Pavilion*** October 2 – Nashville, Tennessee @ Bridgestone Arena**** October 3 – Charlotte, North Carolina @ Spectrum Center**** October 5 – Washington, D.C. @ The Anthem***** October 9 – New York, New York @ Barclays Center October 12 – Boston, Massachusetts @ TD Garden October 13 – Uncasville, Connecticut @ Mohegan Sun Arena****** October 14 – Philadelphia, Pennsylvania @ Wells Fargo Center****** October 16 – Toronto, ON, Canada @ Air Canada Centre****** October 19 – Chicago, Illinois @ United Center******* October 20 – Minneapolis, Minnesota @ Target Center*******

*with Wet **with St. Vincent and Lizzo ***with Kamasi Washington ****with Billie Eilish *****with Beth Ditto ******with Grizzly Bear *******with Perfume Genius

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Taylor Swift Renews Her Vows With Heartbreak in Audacious, Transfixing ‘Tortured Poets Department’: Album Review

By Chris Willman

Chris Willman

Senior Music Writer and Chief Music Critic

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For where it sits in her catalog musically, it feels like the synth-pop of “Midnights,” with most of the feel-good buzz stripped out; or like the less acoustic based moments of “Folklore” and “Evermore,” with her penchant for pure autobiography stripped back in. It feels bracing, and wounded, and cocky, and — not to be undervalued in this age — handmade, however many times she stacks her own vocals for an ironic or real choral effect. Occasionally the music gets stripped down all the way to a piano, but it has the effect of feeling naked even when she goes for a bop that feels big enough to join the setlist in her stadium tour resumption, like “I Can Do It With a Broken Heart.”

The first time you listen to the album, you may be stricken by the “Wait, did she really just say that?” moments. (And no, we’re not referring to the already famous Charlie Puth shout-out, though that probably counts, too.) Whatever feeling you might have had hearing “Dear John” for the first time, if you’re old enough to go back that far with her, that may be the feeling you have here listening to the eviscerating “The Smallest Man Who Ever Lived,” or a few other tracks that don’t take much in the way of prisoners. Going back to it, on second, fifth and tenth listens, it’s easier to keep track of the fact that the entire album is not that emotionally intense, and that there are romantic, fun and even silly numbers strewn throughout it, if those aren’t necessarily the most striking ones on first blush. Yes, it’s a pop album as much as a vein-opening album, although it may not produce the biggest number of Top 10 hits of anything in her catalog. It doesn’t seem designed not to produce those, either; returning co-producers Jack Antonoff and Aaron Dessner aren’t exactly looking to keep her off the radio. But it’s easily among her most lyrics-forward efforts, rife with a language lover’s wordplay, tumults of sequential similes and — her best weapon — moments of sheer bluntness.

Who is the worst man that she delights in writing about through the majority of the album? Perhaps not the one you were guessing, weeks ago. There are archetypal good guy and bad boy figures who have been part of her life, whom everyone will transpose onto this material. Coming into “Tortured Poets,” the joke was that someone should keep Joe Alwyn, publicly identified as her steady for six-plus years, under mental health watch when the album comes out. As it turns out, he will probably be able to sleep just fine. The other bloke, the one everyone assumed might be too inconsequential to trouble her or write about — let’s put another name to that archetype: Matty Healy of the 1975 — might lose a little sleep instead, if the fans decide that the cutting “The Smallest Man Who Ever Lived” and other lacerating songs are about him, instead. He might also have cause to feel flattered, because there are plenty of songs extolling him as an object of abject passion and the love of her life — in, literally, the song title “LOML” — before the figure who animated all this gets sliced down to size.

The older love, he gets all of one song, as far as can be ascertained: the not so subtly titled “So Long, London,” a dour sequel to 2019’s effusive “London Boy.” Well, he gets a bit more than that: The amusingly titled “Fresh Out the Slammer” devotes some verses to a man she paints as her longtime jailer (“Handcuffed to the spell I was under / For just one hour of sunshine / Years of labor, locks and ceilings / In the shade of how he was feeling.” But ultimately it’s really devoted to the “pretty baby” who’s her first phone call once she’s been sprung from the relationship she considered her prison.

It’s complicated, as they say. For most of the album, Swift seesaws between songs about being in thrall to never-before-experienced passion and personal compatibility with a guy from the wrong side of the tracks. She feels “Guilty as Sin?” for imagining a consummation that at first seems un-actionable, if far from unthinkable; she swears “But Daddy I Love Him” in the face of family disapproval; she thinks “I Can Fix Him (No Really I Can),” before an epiphany slips out in the song’s hilariously anticlimactic final line: “Woah, maybe I can’t.” Then the most devastating songs about being ghosted pop up in the album’s later going.

Now, that, friends, is a righteous tirade. And it’s one of the most thrilling single moments in Swift’s recorded career. “But Daddy I Love Him” has a joke for a title (it’s a line borrowed from “The Little Mermaid”), but the song is an ecstatic companion piece to “That’s the Way I Loved You,” from her second album, now with Swift running off with the bad choice instead of just mourning him. It’s the rare song from her Antonoff/Dessner period that sounds like it could be out of the more “organic”-sounding, band-focused Nathan Chapman era, but with a much more matured writing now than then… even if the song is about embracing the immature.

The album gets off to a deceptively benign start with “Fortnight,” the collaboration with Post Malone that is its first single. Both he and the record’s other featured artist, Florence of Florence + the Machine , wrote the lyrics for their own sections, but Posty hangs back more, as opposed to the true duet with Florence; he echoes Swift’s leads before finally settling in with his own lines right at the end. Seemingly unconnected to the subject matter of the rest of the record, “Fortnight” seems a little like “Midnights” Lite. It rues a past quickie romance that the singer can’t quite move on from, even as she and her ex spend time with each other’s families. It’s breezy, and a good choice for pop radio, but not much of an indication of the more visceral, obsessive stuff to come.

The title track follows next and stays in the summer-breeze mode. It’s jangly-guitar-pop in the mode of “Mirrorball,” from “Folklore”… and it actually feels completely un-tortured, despite the ironic title. After the lovers bond over Charlie Puth being underrated (let’s watch those “One Call Away” streams soar), and over how “you’re not Dylan Thomas, I’m not Patti Smith,” an inter-artist romance seems firmly in place. “Who’s gonna hold you like me?” she asks aloud. (She later changes it to “troll you.”) She answers herself: “Nofuckinbody.” Sweet, and If you came to this album for any kind of idyll, enjoy this one while it lasts, which isn’t for long.

From here, the album is kind of all over the map, when it comes to whether she’s in the throes of passion or the throes of despair… with that epic poem in the album booklet to let you know how the pieces all fit together. (The album also includes a separate poem from Stevie Nicks, addressing the same love affair that is the main subject of the album, in a protective way.)

There are detours that don’t have to do with the romantic narrative, but not many. The collaboration with Florence + the Machine, “Florida!!!,” is the album’s funniest track, if maybe its least emotionally inconsequential. It’s literally about escape, and it provides some escapism right in the middle of the record, along with some BAM-BAM-BAM power-chord dynamics in an album that often otherwise trends soft. If you don’t laugh out loud the first time that Taylor’s and Florence’s voices come together in harmony to sing the line “Fuck me up, Florida,” this may not be the album for you.

When the album’s track list was first revealed, it almost seemed like one of those clever fakes that people delight in trolling the web with. Except, who would really believe that, instead of song titles like “Maroon,” Swift would suddenly be coming up with “My Boy Only Breaks His Favorite Toys,” “Fresh Out the Slammer,” “Who’s Afraid of Little Old Me?” and “The Smallest Man Who Ever Lived”? This sounded like a Morrissey track list, not one of Swift’s. But she’s loosened up, in some tonal sense, even as she’s as serious as a heart attack on a lot of these songs. There is blood on the tracks, but also a wit in the way she’s employing language and being willing to make declarations that sound a little outlandish before they make you laugh.

Toward the end of the album, she presents three songs that aren’t “about” anybody else… just about, plainly, Taylor Swift. That’s true of “Who’s Afraid of Little Old Me?,” a song that almost sounds like an outtake from the “Reputation” album, or else a close cousin to “Folklore’s” “Mad Woman,” with Swift embracing the role of vengeful witch, in response to being treated as a circus freak — exact contemporary impetus unknown.

Whatever criticisms anyone will make of “The Tortured Poets Department,” though — not enough bangers? too personal? — “edge”-lessness shouldn’t be one of them. In this album’s most bracing songs, it’s like she brought a knife to a fistfight. There’s blood on the tracks, good blood.

Sure to be one of the most talked-about and replayed tracks, “I Can Do It With a Broken Heart” has a touch of a Robyn-style dancing-through-tears ethos to it. But it’s clearly about the parts of the Eras Tour when she was at her lowest, and faking her way through it. “I’m so depressed I act like it’s my birthday — every day,” she sings, in the album’s peppiest number — one that recalls a more dance-oriented version of the previous album’s “Mastermind.” It’s not hard to imagine that when she resumes the tour in Paris next month, and has a new era to tag onto the end of the show, “I Can Do It With a Broken Heart” might be the new climax, in place of “Karma.” “You know you’re good when you can do it with a broken heart,” she humble-brags, “and I’m good, ‘cause I’m miserable / And nobody even knows! / Try and come for my job.”

Not many superstars would devote an entire song to confessing that they’ve only pretended to be the super-happy figure fans thought they were seeing pass through their towns, and that they were seeing a illusion. (Presumably she doesn’t have to fake it in the present day, but that’s the story of the next album, maybe.) But that speaks to the dichotomy that has always been Taylor Swift: on record, as good and honest a confessional a singer-songwriter as any who ever passed through the ports of rock credibility; in concert, a great, fulsome entertainer like Cher squared. Fortunately, in Swift, we’ve never had to settle for just one or the other. No one else is coming for either job — our best heartbreak chronicler or our most uplifting popular entertainer. It’s like that woman in the movie theater says: Heartache feels good in a place like that. And it sure feels grand presented in its most distilled, least razzly-dazzly essence in “The Tortured Poets Department.”

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7 The Tortured Poets Department Songs That Must Be Added To Taylor Swift: The Eras Tour

• Taylor Swift accompanied the release of her eleventh studio album, The Tortured Poets Department, with a surprise second installment containing 15 extra songs.
• Assuming Taylor Swift incorporates the new album into The Eras Tour set list, some songs from The Tortured Poets Department are better suited to be performed live than others.
• Songs like "But Daddy I Love Him" and "Who's Afraid Of Little Old Me?" would make for thrilling, captivating performances on The Eras Tour.

If Taylor Swift decides to incorporate her new double album, The Tortured Poets Department, into her shows on The Eras Tour , there are certain songs she must add to the set list. Two hours after Swift's highly anticipated eleventh studio album was released at midnight on April 19, 2024, the songstress dropped a surprise second instalment containing 15 brand-new songs. Combined with the 16 original tracks, there are 31 songs on The Tortured Poets Department : The Anthology double album.

Now that she's embarked on this new musical era, The Tortured Poets Department will have to be incorporated into the live show somehow when Swift goes back on The Eras Tour on May 9, 2024. It's unlikely that she will add a whole extra set considering The Eras Tour concert is already three-and-a-half hours long , but she may adjust the existing set list to make room for TTPD. At the very least, Swift is guaranteed to perform some selections from TTPD as surprise songs during her acoustic sets on tour.

If Swift does incorporate The Tortured Poets Department into the permanent set list, though, the Folklore and Midnights sets are the most at risk of receiving cuts since they're tied for the longest eras with seven songs each. As the maximum for any set on The Eras Tour right now, seven is the most songs Swift can reasonably be expected to add from TTPD to the set list. For her selections, these seven songs from The Tortured Poets Department would translate best to a live performance on The Eras Tour.

But Daddy I Love Him

Written by taylor swift & aaron dessner.

On "But Daddy I Love Him," Swift seems to be responding to the general public's unsolicited disapproval of her dating certain men using the trope of a stubborn teenager rebelling against her disapproving parents. The song gives off Fearless vibes, particularly the Romeo & Juliet -centered "Love Story" due to their shared forbidden love narrative, and resembles "august" from Folklore in terms of the production, both of which make for great performances on The Eras Tour.

Many fans have speculated that this song might be about Swift's short-lived public relationship with The 1975 frontman, Matty Healey, in the spring of 2023.

Of every song on The Tortured Poets Department, "But Daddy I Love Him" feels the most fit to be performed live . While listening to the theatrical track, it's easy to visualize what a live performance would look and sound like. The lively, melodramatic chorus and post-chorus were made to be sung in a stadium in front of thousands and the end of the bridge conjures images of Swift frolicking around onstage à la "august" if the instrumental was extended.

Since she borrowed the title from Ariel in The Little Mermaid, a version of which Allie quotes in The Notebook, Swift could include an intro of these characters reciting the titular line before performing "But Daddy I Love Him."

This song also presents so many opportunities for Swift to create a memorable concert experience. Since she borrowed the title from Ariel in The Little Mermaid , a version of which Allie quotes in The Notebook , Swift could include an intro of these characters reciting the titular line before performing "But Daddy I Love Him" or even reference them in her costume. Swift teasing the audience with " you should see your faces " after the fake out about " having his baby " is also poised to become an instantly iconic moment if she performed this song on The Eras Tour.

Florida!!! (Featuring Florence + The Machine)

Written by taylor swift & florence welch.

Of the two tracks with featured artists on The Tortured Poets Department, "Florida!!!" featuring Florence + The Machine blows the album opener "Fortnight" featuring Post Malone out of the water. This ode to the Sunshine State is already an intoxicating song to listen to on the album, and it would be ten times more exhilarating to experience live on The Eras Tour.

Even if she doesn't add it to the set list, Swift is guaranteed to perform "Florida!!!" as a surprise song during the acoustic set at one of her Miami shows, though.

If Swift added "Florida!!!" to the set list, the crowd stomping their feet along with the heavy drums on the chorus before belting out the titular lyric in unison, exclamation points and all, would be an unforgettable moment every night on The Eras Tour. The line " f**k me up, Florida " that repeats on the bridge and serves as the final lyric of the song would also feel liberating to shout out loud in a crowd setting, especially for the attendees at Swift's three stops in Miami, Florida, between October 18 to 20, 2024.

Sadly, Swift is unlikely to add "Florida!!!" to the permanent set list since Florence + The Machine will not be joining her on The Eras Tour. She could still perform the song solo and sing Florence's parts herself, but this is a long shot since there are no songs on the set list that originally have featured artists. Even if she doesn't add it to the set list, Swift is guaranteed to perform "Florida!!!" as a surprise song during the acoustic set at one of her Miami shows, though.

Swift has brought out opening acts like Phoebe Bridgers and HAIM to perform their duets with her ("Nothing New" and "no body, no crime," respectively) during the main show on The Eras Tour, but these were not permanently added to the set list.

Taylor Swift's Next Album Sets Up A New Eras Tour Movie Cameo That Would Make Up For Cutting HAIM

Who's afraid of little old me, written by taylor swift.

While most of the songs on The Tortured Poets Department most fit for a live performance are more on the upbeat and lighthearted side, "Who's Afraid of Little Old Me?" is the polar opposite. On this haunting track, Swift ruminates on her experience in the spotlight and the treatment she's received as a public figure, calling out the hypocrisy of those who villainize her.

The whole song would make for a chilling, powerful live performance, but hearing Swift scream the titular lyric on the chorus of "Who's Afraid of Little Old Me?" would be on another level.

"Who's Afraid of Little Old Me?" is delivered with the same exasperated rage underneath a devilish grin as most of the songs from Swift's Reputation era , especially the pre-chorus, " If you wanted me dead, you should've just said/Nothing makes me feel more alive ." The whole song would make for a chilling, powerful live performance, but hearing Swift scream the titular lyric on the chorus of "Who's Afraid of Little Old Me?" would be on another level.

The song is both sonically and thematically similar to "mad woman" from Folklore, as well. Though Swift does not perform "mad woman" on The Eras Tour, a good basis for comparison for how "Who's Afraid of Little Old Me?" would feel live is Swift's harrowing performance of "my tears ricochet" from the Folklore set, which the TTPD track also resembles. All of these songs that bear similar themes, subject matter, and overall vibe as " Who's Afraid of Little Old Me?" show how the TTPD track would translate perfectly to a live performance.

Imgonnagetyouback

Written by taylor swift & jack antonoff.

On "imgonnagetyouback" from the second installment of The Tortured Poets Department: The Anthology, Swift schemes to get her ex back, though she's uncertain of her intentions for doing so. "Imgonnagetyouback" isn't necessarily a stand-out track on the album, but the playful song lends itself well to a live performance that's fun and entertaining for Swift and the audience alike. If executed properly, the lyrics on the bridge, " even if it's handcuffed, I'm leavin' here with you " and " pick your poison, babe, I'm poison either way, " and the lead into the final chorus could all be huge moments during the live performance.

By amping up the production and accompanying the song with some fun choreography, "imgonnagetyouback" has the potential to deliver a performance in line with the 1989 era. In fact, the line on the chorus about smashing up the subject's bike is reminiscent of Swift smashing her boyfriend's fancy car in the "Blank Space" music video, which she referenced via Easter egg on the Eras Tour by wielding a neon golf club during her performance.

So High School

On the joyous and nostalgic "So High School," Swift gushes about how her adult relationship makes her feel like a lovestruck teenager in the best way. She references teen-centric media like American Pie and Grand Theft Auto and games like "Kiss, Marry, Kill," Spin the Bottle, and Truth or Dare. These details and the premise of the song as a whole provide endless possibilities for different high school-themed costumes, props, set pieces, and even choreography in a live performance of "So High School" on The Eras Tour.

It's also widely speculated that "So High School" is about Swift's relationship with her current boyfriend, Kansas City Chiefs player Travis Kelce, mostly because of the lyric, " you know how to ball, I know Aristotle ." She already shouts him out on The Eras Tour by changing the lyric on "Karma" from " guy on the screen " to " guy on the Chiefs, " but it would be a sweet gesture to include a song that's (supposedly) about Kelce on the set list, especially for the shows where he's in attendance.

Is Travis Kelce In Taylor Swift: The Eras Tour Movie?

Thank you aimee.

On "thanK you aIMee," Swift reflects on how she was ruthlessly tormented by the titular Aimee and realizes that the hell Aimee put her through pushed her to prove herself and succeed. The song is seemingly directed at a mean girl who bullied Swift in school but the deliberately capitalized letters in the title suggest that "thanK you aIMee" is actually a subtle jab at Kim Kardashian and their famous feud. Given this additional context, it might be controversial to include this song on The Eras Tour set list.

Hearing Swift call out bullies and sing about finding her strength would be such a significant experience for all the young children attending The Eras Tour who might be going through the same thing.

As a standalone song separate from any (unconfirmed) lore, "thanK you aIMee" is an empowering anthem about perseverance and overcoming bullying. Hearing Swift call out bullies and sing about finding her strength would be such a significant experience for all the young children attending The Eras Tour who might be going through the same thing.

The production on "thanK you aIMee" is quite understated on the album, but the instrumentals can be bulked up to create more of an atmosphere during the live performance. Given the deeply personal subject matter (whether it's about Kardashian or a real childhood bully, or both), performing "thanK you aIMee" onstage every night would probably be a cathartic experience for Swift , especially the lyric, "I built a legacy that you can't undo ."

A bit of a deep cut on The Tortured Poets Department: The Anthology, "The Bolter" tells the tale of a woman who bolts (hence the title) at the first sign of trouble in a relationship. The third-person, unraveling narrative is reminiscent of the detached, fictionalized approach Swift took on Folklore , which has proved fruitful in delivering compelling performances on The Eras Tour.

The vast melodic diversity of "The Bolter" also creates sonic distinctions between the verses, chorus, post-chorus, and bridge, which would naturally translate to an engaging live performance.

Though it comes toward the end of the lengthy double album, "The Bolter" stands out due to Swift's vivid storytelling and the varying pitches she sings in throughout the song. The vast melodic diversity of "The Bolter" also creates sonic distinctions between the verses, chorus, post-chorus, and bridge, which would naturally translate to an engaging live performance. Performing "The Bolter" would also provide Taylor Swift with the opportunity to whip out her acoustic guitar during The Tortured Poets Department set on The Eras Tour.

Taylor Swift: The Eras Tour

Taylor Swift: The Eras Tour is a film rendition of the colossal worldwide event that sees the legendary pop star hit the stage in a specially curated film event. Performing the hits of her over seventeen-year career in music, The Eras Tour highlights Taylor Swift and her team as they put on a show of a lifetime.

Director Sam Wrench

Release Date October 13, 2023

Cast Taylor Swift

Genres Music

Ceremonials Tour

• View history

The Ceremonials Tour was the second concert tour by Florence and the Machine . The tour included performances at music festivals because it is lead singer Florence Welch 's favourite way to perform live. [1] Welch had originally planned to spend over a year touring for Ceremonials (their previous tour lasted almost three and a half years) [2] before announcing that the December 2012 dates would be the final performances of the tour. [3] On February 25, 2013, it was announced that Florence and the Machine would be playing at the Coke Live Music Festival in Poland on August 10, 2013, [4] and, on March 26, 2013, it was announced that the band would be playing at Chime for Change's "The Sound of Change Live" concert at Twickenham Stadium in London alongside Beyoncé, Ellie Goulding and Haim, amongst others. [5]

The Ceremonials Tour was a critical and commercial success. Pollstar announced that it was the 40th best-selling tour in the world in 2012 having earned $31.8 million worldwide and having sold 618,436 tickets. [6] Paste magazine ranked the tour the seventh best tour of 2012. [7]

• 1 Background and reception
• 2 Opening acts
• 4 Tour dates
• 5 Refrences
• 6 Navigation

Background and reception [ ]

Florence and the Machine played their first performance in support of Ceremonials at New York City's The Boom Boom Room. The performance was sponsored by Interview Magazine , which Florence Welch appeared on the October 2011 cover of. [8] [9]

The band played at the Seymour Centre in Sydney, Australia in November where Florence performed in a Jason Wu Fall 2011 dress. [10] The Daily Telegraph reported that the Seymour Centre show was sold-out and called the performance "wonderful" and "another awesome music memory". [11]

Opening acts [ ]

• Laura Marling – (Chicago Theatre) [12]
• Two Door Cinema Club – (Midland Theatre)
• Cowboy Indian Bear – (Midland Theatre)
• The Head and the Heart – (WaMu Theater)
• Mat Kearney – (WaMu Theater)
• The Horrors – (UK & Ireland March 2012) [13]
• Spector – (UK & Ireland March 2012, excluding 9, 10 March, and mainland Europe) [13]
• Theme Park – (9 March) [13]
• Alpines – 10 March (Alexandra Palace)
• Blood Orange – (Spring North American dates, Australia dates and New Zealand) [14]
• The Walkmen – (Summer North American dates) [15]
• The Maccabees – (Fall North American dates) [14]
• The Weeknd – (Fall North American dates) [14]
• Snow Patrol – (Phoenix Park, co-headlining) [16]
• The Temper Trap – (Phoenix Park)
• Haim – (UK & Ireland December 2012) [17]
• Yna – (Gaston Park)

Setlist [ ]

The setlist at São Paulo was: [18]

• " Only If for a Night "
• " What the Water Gave Me "
• " Cosmic Love "
• " You've Got the Love "
• "Something's Got a Hold on Me"
• " Never Let Me Go " (acoustic)
• " Between Two Lungs "
• " Shake It Out "
• " Dog Days Are Over "
• " Rabbit Heart (Raise It Up) "
• " Spectrum "
• " No Light, No Light "

The main setlist for the first UK & Ireland leg was: [19]

• "Only If for a Night"
• "What the Water Gave Me"
• " Strangeness and Charm " (2, 5, 6 March)
• " Seven Devils " (4, 8 March)
• "Cosmic Love"
• "Between Two Lungs" (played before "Cosmic Love": 16 March)
• "Shake It Out"
• "Dog Days Are Over"
• " Breaking Down "
• " Drumming Song " (10 March)
• " Lover to Lover " (9 March)
• " Heartlines " (Acoustic)
• " Leave My Body "
• " All This and Heaven Too " (added to the encore: 8 March; played before "Shake It Out": 12 & 13 March; played before "Leave My Body": 16 March)
• "You've Got the Love" (added to the encore: 9, 10, 15 & 16 March before "Never Let Me Go")
• "Rabbit Heart (Raise It Up)"
• "Never Let Me Go" (played last in the encore 8, 9, 10, 15, 16 March)
• "No Light, No Light" (played second in the encore after "All This and Heaven Too": 8 March; last song in main set: 9, 10, 15 & 16 March )

The main setlist for the first European leg was:

• "Between Two Lungs"
• "All This and Heaven Too" (played before "No Light, No Light" in the encore: 23 March; played before "Lover to Lover": 30 March; not played: 28 March)
• "Breaking Down" (not played: 25, 27, 28, 30 March)
• "Heartlines" (Acoustic) (played before "Cosmic Love": 30 March)
• "Lover to Lover" (Acoustic) (28, 30 March)
• "Strangeness and Charm" (28 March)
• "Leave My Body" (not played: 28 March; played after "Dog Days Are Over": 30 March)
• "You've Got the Love"
• " Never Let Me Go " (played before "You've Got the Love": 23 March)
• "No Light, No Light"

All songs were played with orchestral and choral backing. The setlist for the Teenage Cancer Trust Concert and at Sydney Opera House was:

• "Drumming Song"
• "Heartlines"
• "Breaking Down"
• "All This and Heaven Too"
• "Leave My Body" (only in Sydney)
• "Rabbit Heart (Raise It Up)" (only in Sidney)
• "Never Let Me Go" (played after "Dog Days Are Over" in Sydney)

The setlist at the Sydney Entertainment Centre was:

• "What the Water Gave Me]]"
• "Leave My Body"
• "Seven Devils"
• " Never Let Me Go "

The setlist at T in the Park was:

• "Never Let Me Go"

The setlist at Lollapalooza was:

• " Breath of Life "

The setlist at Bestival was:

• "Lover to Lover"
• " Take Care "

The setlist at Corona Capital was:

The setlist at the last European leg (as performed in Milan on 20 November) was:

• "Heartlines" (Acoustic)
• " Sweet Nothing " (Acoustic)

The main setlist for the second UK & Ireland leg was: [20]

• " Bird Song (Intro) "
• " Oh! Darling " (The Beatles cover) (only in Liverpool)
• "Leave My Body" (Piano version)
• "Sweet Nothing" (Acoustic) (not played in Exeter; played after "Leave My Body" in Dublin)
• " Kiss with a Fist " (only in Dublin)

Tour dates [ ]

Refrences [ ].

• ↑ https://www.theguardian.com/music/video/2011/oct/26/florence-welch-interview-video
• ↑ http://www.thedailybeast.com/newsweek/2011/10/23/florence-welch-on-her-breakup-and-new-album-ceremonials.html
• ↑ http://www.nowness.com/day/2012/11/19/2597/florence-and-the-machine-lover-to-lover
• ↑ https://web.archive.org/web/20130228050639/http://livefestival.pl/pl/AKTUALNOSCI/Florence-And-The-Machine-Na-Coke-Live-Music-Festival2
• ↑ https://web.archive.org/web/20131219115046/http://www.chimeforchange.org/concertl
• ↑ https://archive.today/20130301052905/http://www.pollstarpro.com/files/011413top50.pdf
• ↑ http://www.pastemagazine.com/blogs/lists/2012/11/the-25-best-live-acts-of-2012.html?p=4
• ↑ http://www.papermag.com/2011/10/florence_and_the_machine_interview.php
• ↑ https://web.archive.org/web/20111203002614/http://standardculture.com/posts/5404-Florence-The-Machine-Sing-Stan-D-Arde-A-Love-Song-stan-d-arde
• ↑ http://www.redcarpet-fashionawards.com/2011/11/15/florence-welch-in-jason-wu-debit-mastercard-priceless-music-show/
• ↑ http://www.dailytelegraph.com.au/entertainment/sydney-confidential/florence-and-the-machine-wonderful/story-e6frewz0-1226196165534
• ↑ https://web.archive.org/web/20111201125247/http://www.thechicagotheatre.com/events/wxrt-holiday-concert-1211.html
• ↑ 13.0 13.1 13.2 13.3 https://web.archive.org/web/20120626220538/http://www.florenceandthemachine.net/news/0-6/2012-uk-and-ireland-arena-tour-announced/0-6
• ↑ 14.0 14.1 14.2 http://pitchfork.com/news/46423-the-weeknd-to-open-for-florence-and-the-machine/
• ↑ http://pitchfork.com/news/46265-the-walkmens-heaven-gets-new-release-date/
• ↑ http://entertainment.ie/music/news/Snow-Patrol-and-Florence+The-Machine-announce-Phoenix-Park-date/102105.htm
• ↑ http://ohnotheydidnt.livejournal.com/71883266.html
• ↑ https://web.archive.org/web/20160808192320/http://dontskip.com/dont-skip-no-summer-soul-a-energia-de-florence-the-machine/
• ↑ https://web.archive.org/web/20120422042253/http://www.setlist.fm/setlist/florence-the-machine/2012/the-o2-dublin-ireland-13dee989.html
• ↑ http://www.setlist.fm/setlist/florence-the-machine/2012/o2-arena-london-england-1bda2134.html
• ↑ https://web.archive.org/web/20150324010906/http://www.papermag.com/2011/10/florence_and_the_machine_interview.php - https://web.archive.org/web/20130115132135/http://www.billboard.biz/bbbiz/industry/branding/creators-project-with-florence-the-machine-1005411782.story
• ↑ https://web.archive.org/web/20120626120439/http://florenceandthemachine.net/news/0-6/australia-and-new-zealand-shows/0-6
• ↑ https://web.archive.org/web/20120627152424/http://florenceandthemachine.net/news/0-6/radio-1-hackney-weekend-2012/0-6
• ↑ https://web.archive.org/web/20120627170733/http://www.florenceandthemachine.net/news/0-6/flo-to-play-benicassim/0-6

Navigation [ ]

• 1 Cassandra (song)
• 2 Grace Welch
• 3 Which Witch (song)

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Taylor Swift shocker: New album, "The Tortured Poets Department," is actually a double album

By Alex Sundby , Brian Dakss

Updated on: April 19, 2024 / 10:28 PM EDT / CBS News

Anticipation was growing at a fever pitch before Taylor Swift's latest album, " The Tortured Poets Department ," dropped at midnight EDT. But the pop superstar had a huge surprise on tap: It's actually a double album.

When Part One dropped, Swift wrote on Instagram , "All's fair in love and poetry... New album THE TORTURED POETS DEPARTMENT. Out now 🤍"

Then came the shocker, revealed in an Instagram post saying , "It's a 2am surprise: The Tortured Poets Department is a secret DOUBLE album. ✌️ I'd written so much tortured poetry in the past 2 years and wanted to share it all with you, so here's the second installment of TTPD: The Anthology. 15 extra songs. And now the story isn't mine anymore… it's all yours. 🤍."

What's Taylor Swift's new album about?

Swift described the album as "new works that reflect events, opinions and sentiments from a fleeting and fatalistic moment in time — one that was both sensational and sorrowful in equal measure."

She also said that time has been "closed and boarded up. There is nothing to avenge, no scores to settle once wounds have healed. And upon further reflection, a good number of them turned out to be self-inflicted."

"Entertainment Tonight" correspondent Denny Directo called the record some of her most vulnerable work.

"Fans were left with more questions than there were answers, so good luck trying to decipher who these songs are about, what they mean," Directo told CBS News. "… I feel like there's more heartbreak songs on this than there are love songs."

Hours ahead of the record's release, Swift said on social media that its first single was "Fortnight," featuring Post Malone, and its music video was released Friday night .

Swift praised the Grammy-nominated artist's musical experimentation and melodies "that just stick in your head forever."

"I got to witness that magic come to life firsthand when we worked together on Fortnight," Swift said in her post .

"Fortnight" isn't the only track on the album on which Swift worked with another artist. Florence and The Machine is also featured.

What's on "The Tortured Poets Department" tracklist?

Swift posted an initial tracklist to social media in February one day after she announced the album at  the Grammys , where she won for best pop vocal album. Here's the list of all 31 songs:

• "Fortnight"
• "The Tortured Poets Department"
• "My Boy Only Breaks His Favorite Toys"
• "So Long, London"
• "But Daddy I Love Him"
• "Fresh Out the Slammer"
• "Florida!!!"
• "Guilty as Sin?"
• "Who's Afraid of Little Old Me?"
• "I Can Fix Him (No Really I Can)"
• "I Can Do It With a Broken Heart"
• "The Smallest Man Who Ever Lived"
• "The Alchemy"
• "Clara Bow"
• "The Black Dog"
• "imgonnagetyouback"
• "The Albatross"
• "Chloe or Sam or Sophia or Marcus"
• "How Did It End?"
• "So High School"
• "I Hate It Here"
• "thanK you aIMee"
• "I Look in People's Windows"
• "The Prophecy"
• "Cassandra"
• "The Bolter"
• "The Manuscript"

What are Taylor Swift's concert dates for The Eras Tour?

Swift resumes her wildly successful Eras Tour next month in Europe with shows scheduled for Austria, France, Germany, Ireland, Italy, the Netherlands, Poland, Portugal, Spain, Sweden, Switzerland and the U.K. until August. In the fall, the tour returns to North America with performances in Indianapolis, Miami, New Orleans, Toronto and Vancouver, British Columbia.

Here are the dates for upcoming shows:

• May 9 Paris
• May 10 Paris
• May 11 Paris
• May 12 Paris
• May 17 Stockholm
• May 18 Stockholm
• May 19 Stockholm
• May 24 Lisbon, Portugal
• May 25 Lisbon, Portugal
• May 29 Madrid
• May 30 Madrid
• June 2 Lyon, France
• June 3 Lyon, France
• June 7 Edinburgh, Scotland
• June 8 Edinburgh, Scotland
• June 9 Edinburgh, Scotland
• June 13 Liverpool, England
• June 14 Liverpool, England
• June 15 Liverpool, England
• June 18 Cardiff, Wales
• June 21 London
• June 22 London
• June 23 London
• June 28 Dublin
• June 29 Dublin
• June 30 Dublin
• July 4 Amsterdam
• July 5 Amsterdam
• July 6 Amsterdam
• July 9 Zurich
• July 10 Zurich
• July 13 Milan
• July 14 Milan
• July 17 Gelsenkirchen, Germany
• July 18 Gelsenkirchen, Germany
• July 19 Gelsenkirchen, Germany
• July 23 Hamburg, Germany
• July 24 Hamburg, Germany
• July 27 Munich
• July 28 Munich
• Aug. 1 Warsaw, Poland
• Aug. 2 Warsaw, Poland
• Aug. 3 Warsaw, Poland
• Aug. 8 Vienna
• Aug. 9 Vienna
• Aug. 10 Vienna
• Aug. 15 London
• Aug. 16 London
• Aug. 17 London
• Aug. 19 London
• Aug. 20 London
• Oct. 18 Miami
• Oct. 19 Miami
• Oct. 20 Miami
• Oct. 25 New Orleans
• Oct. 26 New Orleans
• Oct. 27 New Orleans
• Nov. 1 Indianapolis
• Nov. 2 Indianapolis
• Nov. 3 Indianapolis
• Nov. 14 Toronto
• Nov. 15 Toronto
• Nov. 16 Toronto
• Nov. 21 Toronto
• Nov. 22 Toronto
• Nov. 23 Toronto
• Dec. 6 Vancouver, British Columbia
• Dec. 7 Vancouver, British Columbia
• Dec. 8 Vancouver, British Columbia
• Taylor Swift

Alex Sundby is a senior editor at CBSNews.com. In addition to editing content, Alex also covers breaking news, writing about crime and severe weather as well as everything from multistate lottery jackpots to the July Fourth hot dog eating contest.

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