MEDIA MONDAYS: HOW BIG, HOW BLUE, HOW BEAUTIFUL, INDEED.

When Florence + The Machine's Ceremonials was released in 2011, I bit back disappointment. Their brand of mystical pop seemed to have been abandoned for a more baroque, gospel formula, bigger and sweepingly orchestral. Welch's vocals, reminiscent of those goddesses of bygone eras such as Stevie Nicks and Grace Slick, were simply overshadowed by fantastical musical scores. There seemed to be more confidence in "The Machine" than in Florence herself. Ceremonials felt grand, melodramatic and almost pompous while removing the joy and heart that I had come to know and to love. Most importantly, I couldn't sing along. I couldn't connect, an immediate shut down for me. Though the sales wouldn't indicate it, I definitely felt that sophomore effort slump.


I'm loathe to write off any musician that I once liked - I can count the albums I like without "skippable" tracks on one hand and look at how many times artists like PJ Harvey have changed tact - but I was nervous for F+TM's third effort, How Big, How Blue, How Beautiful. Fortunately lead single, What Kind Of Man, has exactly the layered guitars, atmospheric backing vocals and bluesy frustration that would drag me back for more. While I'm not exactly a Taylor Swift fan, I can't be more grateful to her for advising Welch to write about her feelings. The track seethes resentment and hits its mark.

What are we gonna do / We've opened the door

And now it's all coming through

It's that self-awareness that is present throughout HBHBHB. The album ditches the love of the grandiose and theatrics of Ceremonials for something more tangible, more personal and far less abstract. Don't be mistaken, the band is by no means suddenly minimalist, or even a standard four-piece band. These are powerhouse tracks and there's still the signature harps, horns and melodic backing vocals, lead by Welch herself. It just isn't taking centre stage anymore, allowing for something for organic and accessible while remaining true to the band's art-rock roots.

The opening track, Ship To Wreck, is immediately more upbeat and reminiscent of early Florence, with whimsical imagery and a soft, folk rock feel. Queen Of Peace feels like it belongs in a period piece (with faeries) before detailing the pains of a one-sided relationship with a strong beat. The  fall away in Various Storms and Saints as images of the heartache in the first four tracks are laid bare. Delilah and Third Eye are danceable and thoroughly enjoyable. Long and Lost has a strangely dark, almost trip-hop feel, standing out from the rest of the album, The soft emotion and simplicity of Caught and St Jude will speak to anybody who has been through a reluctant breakup.

Like an atmosphere around me / I’m happy you’re beside me

What are we gonna do?

It isn't perfect - the closing track Mother feels weak compared to the rest of the album and some tracks are certainly less memorable than others. Overall How Big, How Blue, How Beautiful is still classic Florence + The Machine theatrics and metaphors, filled with religious iconography that might give the impression that Welch has a bit of an ego. But it's more introspective, a different kind of vulnerability and soulful joy, and sorrow, without being dark and melodramatic. The sound is smaller, making way for Welch's soaring vocals (that sound as magnificent live as they do on any recording) and emotional depth to explore wonder, joy and regret.

Must listens: What Kind Of Man, Various Storms & Saints, Queen of Peace
Rating: 4