@ SSE Hydro, Glasgow on Mon 14 Sep 2015
As the crow flies, the journey between King Tut’s and the SSE Hydro is not an overly arduous one (unless the crow is very elderly or suffering from emphysema). However, in musical terms, arriving at the latter destination represents the conclusion of a formidable odyssey, which few complete. Commenting on her own (musical) pilgrim’s progress, Florence Welch says, ‘By rights, I’m not sure we should be here, but I’m glad we’ve made it.’ There are no dissenting voices.
The concert kicks into gear with What the Water Gave Me and the impressive Ship to Wreck, where Welch races between both ends of the stage, turning pirouettes, her red hair flying. Welch is undeniably at the heart of her musical machine, but she is complemented perfectly by the backing musicians and vocalists. Delilah and You’ve Got the Love are highlights of the first half of the concert.
Since this is the How Big Tour, it is entirely appropriate that How Big, How Blue, How Beautiful exhibits such powerful resonance as a live song. It draws to its close with a crescendo of brass, as Welch is silhouetted against a red light, her limbs and head moving like a living shadow puppet.
Welch has a great voice, but she is also one of those performers who pours her heart and soul into every performance. At most concerts, the stage serves as a clear dividing line between performer and audience. While she is centre stage, Welch is as close to her audience as possible, barefoot toes dangling over the edge. On several occasions, she descends a staircase into the pit, standing at the barrier while singing, with many audience hands reaching out to touch their heroine. She is not, in any sense, distant from them.
As soon as the first notes of Dog Days Are Over ring out, the crowd respond with passion and enthusiasm, singing, jumping and dancing. Harnessing the energy levels, Welch invites the crowd to embrace each other, remove an item of clothing and wave it above their heads. You don’t have to ask a Glasgow audience twice. For her part, Welch practices what she preaches, removing her blouse and running along the pit in her bra. Smart but casual, as it is known in these parts.
Returning to stage (once more fully attired), Welch launches into an encore of What Kind of Man. This is followed by a pulsing drum beat with the stage bathed in red light, which heralds the arrival of Drumming Song. Sweeter than heaven and hotter than hell? Hades has rarely been this inviting.