Florence Welch, the lead singer of the indie rock band Florence + the Machine, has often been associated with witchcraft and mystical symbols. Her personal style and lyrics frequently incorporate elements of the occult and magical themes. Welch has stated in numerous interviews that she has a fascination with witchcraft and the supernatural. She has said that she feels a strong connection to the idea of witches as powerful, independent women who are in tune with nature and the spiritual realms. In her music, Welch often explores themes of magic, transformation, and spirituality. Many of her songs contain references to witchcraft, spells, and ancient rituals.
Run fast for your mother and fast for your father
Run for your children for your sisters and brothers
Leave all your love and your loving behind you
Can’t carry it with you if you want to survive
As a thought leader in the team building industry, the focus is on creating positive change and supporting employees in finding happiness and navigating challenges, coinciding with the dog days are over meaning. Welch would receive another lifeline in the form of producer Markus Dravs, who encouraged she break from her veiled lyrics and be honest about her own struggles.
Many of her songs contain references to witchcraft, spells, and ancient rituals. For example, in the song "What the Water Gave Me," she sings about offering herself as a sacrifice to the water goddess and seeking spiritual enlightenment. Additionally, Welch's stage presence and costumes often reflect her interest in witchcraft.
Florence Welch Started a Witch Coven and Nobody Knew About It
Whether it's equating the price of fame to a ritual blood sacrifice or being “done with her graceless heart so she can cut it out and restart,” in her songs, U.K. artist Florence Welch of Florence and the Machine has always had a fancy for the supernatural. That's why I'm not surprised when she tells me how she started a witch coven in middle school. “Me and my two friends made these spell books where we’d try to do spells on our classmates,” Welch explains. “One time, I tried to make one of my classmates fall in love with me so me and my coven put his name in a bottle, and the rule was that there had to be a drop of blood and… well, I don’t know if it ever worked [laughs].” Under her haunting ballads and grandiose hymns lies the truth behind her love for the morbid and unusual: Welch is really a sorceress. (In fact, numerous websites suggest as much). But her interests come from the wealth of books she absorbed as child: "I remember reading a lot of book on Greek mythology like the minotaur being sacrificed to [Goddess of the underworld] Persephone and just being obsessed with The Odyssey and The Iliad,” says Welch while playing with the multiple charm bracelets around her wrist.
AdvertisementRaised in Camberwell, a district of South London, Welch regularly visited old Italian churches that displayed cobblestone statues of saints and demons. “I spent a lot of time in front of books and old historic buildings convinced that ghosts were real, vampires existed, and having a really heightened sense of those type of things happening around me,” says Welch. The supernatural gave her a reprieve from issues in her home, such as the divorce of her parents and dealing with the suicide of her grandmother. In spite of these personal problems, Florence began sharpening her vocals and partnered up with her family babysitter, Isabella Summers, to become Florence and the Machine. The pairing would spell success with baroque ballads and fantasy themed lyrics about atom to atom love and cursing away the mistakes of last night in 2009 debut, Lungs and 2011 follow-up Ceremonials.
But after touring came to a close, coupled with an on and off relationship and no clear direction for her third album, Welch became detached from her surroundings. “Every performance is kind of like a small exorcism, or I definitely use them as such. So, I think that’s why I had such a strange time when I took a break off because that connection was very important to me as a way to understand myself.” Welch would receive another lifeline in the form of producer Markus Dravs, who encouraged she break from her veiled lyrics and be honest about her own struggles. She also got assistance from a “psychic cat.” “When I was going through periods of heartbreak or feeling quite isolated while working on the record, this black and white cat would just appear,” Welch explains. “Literally, during some of my lowest moments it would just come inside the house and into bed with me and started pawing at my face and I was like “you must be a spiritual cat.” And through her newfound feline talisman, good fortune would give way to the completion of her newest album, How Big, How Blue, How Beautiful.
AdvertisementInspired by the open and "peaceful" blue skies of Los Angeles, the album follows the highs and lows of Welch’s experiences over the past year. From the regal-intoned backing orchestra on the title track to the lush sinewy strings and internal conflicts present in “Third Eye,” each song acts as a landmark in her journey for a renewed sense of purpose in life. “I think what I realized was that above all the confusion and the dark space I was in there was this sense of hope,” says Welch. “I remember being in a hotel room at some point during touring and taking out photos and rocks at 5 AM in the morning to make a spell with my bandmates. And it was weird because when some of the things started happening in my life I was like “I don’t know if this is coming true or it's going wrong!” So I guess I’m still trying to figure out if the spell worked too well [laughs].”
Noisey: Now I understand one of the original ideas before HBHBHB took shape was the idea of a witch that goes on trial. What do you think that album would’ve sounded like had it been realized?
Florence Welch: Well, there’s the song “Which Witch” that’s actually the beginning of this idea I had of a young witch who just loves someone so much and then some accident occurs and he dies. And of course people think that she did it and I always felt it should take place in Hollywood somehow because Hollywood is kind of this apocalyptic place. When you’re there and you look around it’s so beautiful but underneath you feel like something has kind of cracked. But, I feel at some point I feel I might revisit the idea and turn it into a musical at some point. Kind of like the Crucible but a musical. We we’re going to call it Crusical.
Your writing has always specifically used these supernatural elements as metaphors in your music, for instance the occult references in the “Shake It Out” video. When did you realize that was your unique way of making music?
I think there’s a kind of an idea where each song is like a magic spell in order to exorcise something from yourself. There’s a big theme of desire and transcendence and using the songs, almost like chants where it was to make something happen or break something; you wanted something out of you or you want to get something into you. So, I’ve always been attracted to that kind of imagery. The first bands I went to see live and the first things I was interested in had this kind of shamanic energy and this idea that it wasn’t just a drink it was a kind of exorcism. And so I think being surrounded by those things kind of draws you into these kind of themes.
There are a lot of characters from Greek mythology referenced throughout the album. What was it about those stories that felt in sync with your experiences?
[Mythological figure] Tantalus was going to be the title of the record but that was when I was still kind of bogged down with everything because I really wanted something and I felt really for the first time in my life being clear about wanting it. In past relationships, I have always had one foot out in terms of the future so for the first time I was like “I know, I feel, I’m nearly there.” But back to your question, Tantalus was cursed by the gods to stand in a pool of water under a fruit tree, so he could see the fruit but he was never able to get it and he could see the water but never be able to drink it. And for me that concept was very present in the record in that I could see this thing that I wanted and I just couldn’t reach it.
All of the videos for this record also share that olympus feel whether its the sacred Mayan water holes you visited for “HBHBHB” up to even “St Jude” with the birds at the end seemingly symbolizing this idea of you travelling through the circles of hell. Am I delusional?
Do you know what? That is the message in the video because this journey that I went through there’s a kind of poetry in a sense. I was trapped in this cycle and the director [Vincent Haycock] and I were looking at Dante’s Inferno and these layers of Hell and how you have to go into something to come out of it. That’s why there are these patterns that reappear in the videos because we wanted to recreate this odyssey of what I experienced.
Jabbari Weekes can't see how big, blue, and beautiful the sky is because of pollution — @DaysandWeekes
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“…The horses are coming so you better run”
She is known for wearing flowing dresses, often in black, and adorning herself with bohemian jewelry and occult symbols. Her performances are often described as otherworldly and enchanting, further adding to the witchy aesthetic. It is important to note that Welch's fascination with witchcraft is not meant to be taken literally. She has explained that her interest lies in the symbolism and mythology behind witchcraft, rather than any actual practice of witchcraft. She views it as a way to explore deeper themes of femininity, power, and self-expression. In conclusion, Florence Welch's interest in witchcraft is a significant aspect of her artistic persona. Through her music, style, and lyrics, she incorporates elements of the occult and mystical themes, allowing her to explore deeper aspects of her creativity and personal identity..
Reviews for "The Witchcraft and Feminism Connection: Analyzing Florence Welch's Empowering Lyrics"
1. John - 1 star
I was highly disappointed with "Florence Welch Witchcraft". I found the whole concept to be absurd and the execution to be lackluster. The music was a chaotic mix of sounds that seemed to have no rhyme or reason. Welch's vocals were screechy and unpleasant to listen to. Overall, this album was a complete miss for me and I would not recommend it to anyone.
2. Sarah - 2 stars
I had high expectations for "Florence Welch Witchcraft" but unfortunately, it did not meet them. While I appreciate Welch's unique style and artistic vision, I found this album to be too experimental and inaccessible. The songs lacked structure and cohesiveness, making it difficult for me to connect with the music. Additionally, the lyrics were vague and failed to evoke any emotional response. Overall, I found this album to be a disappointment compared to Welch's previous works.
3. Mark - 2.5 stars
As a fan of Florence Welch, I was excited to listen to "Florence Welch Witchcraft". However, I was let down by the heavy use of electronic elements and the departure from Welch's signature sound. The songs felt disjointed and lacked the depth and emotional resonance that I associate with her music. While there were a few standout tracks, the overall album failed to leave a lasting impression on me. I hope Welch returns to her roots in future projects.