Throughout the ongoing COVID-19 pandemic, Florence Welch was unsure if the latest Florence + the Machine album, Dance Fever, would ever see the light of day. She didn’t think she’d ever get to play shows again. And even if she did, she wasn’t sure anyone would show up.

Luckily for Welch, and the world, Dance Fever was finally released in May, the Dance Fever tour kicked off earlier this week, and if Thursday’s Xcel Energy Center show was any indication, people are absolutely showing up.

For opening acts throughout the three-leg, 41-date tour, Florence handpicked several artists to join her for a few shows at a time. Japanese Breakfast, Wet Leg, Yves Tumor, and King Princess are a few of the upcoming openers, with Arlo Parks taking on the duties for the tour’s first two dates.

But for Thursday’s Xcel date, it was rapper, activist, and poet Mykki Blanco’s turn to warm up the crowd. With a new album due out in October called Stay Close to Music and an impressive list of collaborators that includes Michael Stipe, Blood Orange, Charli XCX, Princess Nokia, and Devandra Banhart, it’s no surprise that Welch tapped them for the opening spot.

As the lights dimmed, Blanco’s backing band (drummer, guitarist, saxophone player, and backup singer) took the stage. Shortly after, Blanco themself emerged wearing a spectacular mishmash of styles that somehow all worked well together. A baseball cap and scarf, leather biker vest over a pink, sparkly shirt, one shiny patent leather pant leg with the other leg bare, and black motorcycle boots — shouldn’t have worked. But did. Somehow.

“My name is Mykki Blanco. Welcome to our cabaret.”

Blanco has about a decade of performing experience, and it shows. They exude charisma and are a natural performer, entirely at home on the stage — and sometimes off. Towards the end of their 45-minute set, Blanco left the stage to join the crowd on the floor. A circle quickly formed around them as the band blasted ‘90s-esque dance beats from onstage. Blanco rapped their way through a whole song surrounded by the crowd before rejoining their band.

Blanco and their cabaret never let up from the moment they walked on stage to the closing notes of their final song. Their love of performing shone bright and served as a perfect teaser for the rest of the night’s energy.

As soon as Blanco left the stage, the shuffle began. The big black curtain behind Blanco’s band came down to reveal a massive white dance floor — it is the Dance Fever tour, after all. An altar of white candelabras draped in sheer fabric (you guessed it, also white) was at the rear of the stage. Floating above was a massive rectangular frame with white chandeliers inside.

As the lights dimmed, the chandeliers began descending onto the dance floor with a bright light shooting out from beneath the candelabra altar. A barefoot Welch emerged wearing a long, flowing white and red sheer dress. The chandeliers began lifting one by one as she approached the mic at the front of the stage.

Welch belted out the opening lines of “Heaven Is Here” while twirling around and punching the air. She danced across the stage as the song continued, making one thing clear early on in the show. That was her dance floor, and she intended on using it. All of it.

“Heaven Is Here” transitioned into the first single off of Dance Fever, “King.” In my show notes for this song, all I wrote was, “I can feel her voice in my soul!!” which doesn’t really seem like it needs any elaboration. 

Moving through the set, Welch directed the crowd like a conductor taking charge of an orchestra. When she wanted them to be loud, they happily obliged. When part of a song demanded silence, you could hear a pin drop were it not for Welch’s flawless mezzo-soprano ringing throughout the space.

Welch rewarded the crowd’s obedience with regular trips down to the floor. For “Dream Girl Evil,” she stood on top of the barricade while grasping the hands of her fervent fans. During “What Kind of Man,” she again joined the crowd at the barricade. As the Machine hit the first few notes of “Choreomania,” she sprinted off stage and went around the crowd before pausing at the very back of the floor for a while. Then, she finished her lap and headed back to the stage, exhausted security guards in tow.

During these moments, Welch achieved the impossible; she made an Xcel concert feel like an intimate punk rock show at 7th Street Entry. Her intense connection to her fans is something many artists lose as soon as they hit an arena stage. But not Welch. She finds as many opportunities as possible to connect and be present with her fans, which she also expects from them in return.

During the bridge of “Dog Days Are Over,” Welch asked that everyone put their phones away so they could truly be present for the show. While many artists ask this, Florence + the Machine fans actually listen. For the rest of the night, save for some extra special photo-worthy moments and a sea of cell phone flashlights during “Morning Elvis,” nobody’s view was blocked by a glowing screen.

While Welch can command an arena and effortlessly fill the large space with her impressive vocal control (like seriously impressive) during a song, her shyness came through during her banter. As she silently approached the mic between songs and the crowd erupted into cheers, Welch withdrew into nervous giggles.

“English people have a complicated relationship with praise.” Fair enough.

The main set ended with “My Love” and “Restraint.” The stage went dark, and the encore cheers began. Thankfully, we didn’t have to wait long. Almost as quickly as they left, the Machine was back on stage, followed by Florence.

But before going into the encore, she took a moment to thank Mykki Blanco. “Mykki is an incredible performer, and I'm so honored to share the stage with them.” She also thanked the crew and everyone who made the Dance Fever Tour happen during so much uncertainty.

She explained that this next song wasn’t a part of Florence + the Machine’s set for about 10 years. It stressed her out and was a constant reminder of a time when she was sad and drinking too much.

“But then you all kept listening to it, so I think it’s about time we start playing it again.”

The first somber notes of “Never Let Me Go” rang out. Judging from the crowd's response, it was about time they started playing it again. Welch’s vocals faded out at the end of the song, and she directed the crowd to finish it for her — which they did, beautifully.

After the second song of the encore, “Shake It Out,” Welch again addressed the audience before the final song of the evening. 

“You are now all part of the flowery cult of Florence + the Machine. And part of being a member is raising people up. I want you to raise people up. I want to see people on shoulders.” 

Red spotlights began dancing on the stage that Welch herself had danced on all evening. The first tinkly harpsichord notes of “Rabbit Heart (Raise It Up)” began. 

“I want you to take nothing home with you tonight. I want you to let out every last bit of energy you have right now.” Obviously, everyone obeyed Welch’s one last directive.

Welch has cited Kate Bush, Stevie Nicks, and Siouxsie Sioux as three of her biggest influences, and their impact was certainly present throughout Thursday’s show. The artistry and theatrics of Bush, the witchiness and mysticism of Nicks, and the punk rock showmanship of Siouxsie Sioux — they’ve all clearly left their mark. But it’s ultimately Welch herself that makes a Florence + The Machine show what it is. Her endless charm, her highly-relatable anxiety, and shyness, her undeniably massive talent — she creates a uniquely welcoming and intimate environment rarely (if ever) seen on an arena stage.

Gallery

Fullscreen SlideshowPrevious Slide

6 of 6

1 of 6

2 of 6

Next Slide

Setlist

Heaven Is Here

King

Ship to Wreck

Free

Daffodil

Dog Days Are Over

Girls Against God

Dream Girl Evil

Prayer Factory

Cassandra

What Kind of Man

Morning Elvis

June

Hunger

Choreomania

Kiss With a Fist

Cosmic Love

My Love

Restraint

Encore

Never Let Me Go

Shake It Out

Rabbit Heart (Raise It Up)

Note: Unfortunately, Welch and her Machine did NOT play her cover of “Margaritaville.” Maybe next time.