Florence Welch has always known how to make an entrance, and her latest offering proves she hasn’t lost her flair for the dramatic. The haunting new single “Everybody Scream” — which shares its name with Florence and the Machine’s forthcoming album — arrived just as autumn’s chill began settling in, perfectly timed for its Halloween release.
The track itself? Pure Florence magic, really. Welch’s voice soars and swoops through the mix like some ghostly bird of prey, while the instrumentation builds a world that’s equal parts Victorian ghost story and modern rock opera. “Blood on the stage/But how can I leave you when you’re screaming my name?” she wails, and somehow it feels less like lyrics and more like an incantation.
Autumn de Wilde’s accompanying video is, frankly, a bit bonkers — in the best possible way. Picture this: Welch, wrapped in crimson (because of course she is), commanding the screen like some sort of gothic ringmaster. The whole thing transforms from moody meditation to full-blown collective possession scene that wouldn’t look out of place in one of those trendy A24 horror films.
But here’s where things get really interesting. Over the past couple years, Welch has been quietly assembling quite the creative dream team. She’s pulled in Idles’ guitarist Mark Bowen (whose raw energy seems an inspired choice), The National’s Aaron Dessner (fresh off his Taylor Swift collaborations), and — perhaps most intriguingly — indie powerhouse Mitski.
The production credits read like a who’s who of musical innovation. James Ford’s at the helm (no surprise there), with James McAlister adding his multi-instrumental magic to the mix. And let’s not forget Stuart Bogie’s woodwind contributions, which add these gorgeously unsettling layers to the whole affair.
For the collectors and vinyl enthusiasts out there — you know who you are — there’s a special “Chamber Version” in the works. Four reimagined tracks that promise to strip away the theatrics and show the bones of these songs. Rather clever, that.
October 31st feels almost too perfect for this release. Trust Florence to pick a date that matches the album’s apparent blend of the spectacular and supernatural. Mind you, this is the same artist who once turned Shake It Off into a gothic hymn, so perhaps we shouldn’t be surprised.
From the sound of this first single, “Everybody Scream” seems poised to push Florence and the Machine into darker, more experimental territory. With such an eclectic mix of collaborators on board and Welch’s evident willingness to embrace new creative directions, this might just be the album that defines the post-pandemic musical landscape of 2025.
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