Florence continues to refine her sound and has now added a brass section to her machine. And it fits perfectly.

This whole album takes a more rock approach but it's still unmistakably Florence. She also claimed to be moving away from water references, but there's plenty hear so never quite got that. She did show she is capable of restraint when she wants too, which is something she had been constantly criticised for in previous albums. The guitar is more prominent in this album and there is a lot more references to real life.

it's also a cohesive album but I feel there is more variety here compared to ceremonials, a lot more breathing space at any rate.

I'm not the biggest fans of the visuals of this album, the more American feel and 70s looks with loads of pantsuits, but she really captured it well.

Ship to wreck is personally one of her weaker openers imo. It does have a great video though, I loved getting a good peek at her humble abode. There's plenty of water references and cool animal metaphors. It's an ok track, and one I strangely hear played quite often despite the fact it's didn't do amazing in the charts.

What kind of man feels like a better opening track imo and it introduces the new sound of this album perfectly. She's the angriest she's ever sounded so far and it was so cool hearing this for the first time. When the horns come in my angsty student mind was blown. Still love this track and it's my favourite off of this album

How big is exactly what it says on the tin, a huge soaring track that fills the sky with sound. Lyric wise this song never grabbed me, it's the instrumentals that steal the show here.

Queen of peace is another belter of a track that always seemed a bit out of place on this album tbh. Even the video doesn't seem to quite fit with the rest of them. This song seems less grounded lyric wise so I wonder if it was one of the earliest tracks written for this album. The brass gets to really shine in this one.

Various storms is one of her more restrained tracks that became a fan favourite. I've always liked it, but it's never been a top ten or anything.

Delilah is another energetic punchy track that gets me going. It's just a solid track that makes me want to bounce around.

So long and lost is probably my favourite of her quiet tracks on this album. More of a personal one for me.

Caught was for a long time one of my most disliked tracks. I didn't like the country feel to it and the vocals sound a bit strange, like she's standing too close. I've warmed to it a bit over the years.

St Jude I remember catching me off guard when it came out as I was not expecting something so restrained from her. It meanders but in a good, deliberate way

Third eye is one I've seen described as the 'filler' track of this album on occasion but I disagree. I really like this one and the hopefulness of it compared to the more desperate and angry songs before. Plus that bit in the video when Rob comes in and leads her to the stage is a top FATM moment for me.

Mother is another great closer. It's got a psychedelic vibe and floats off into the sky the album has referencing the whole time

Hiding is honestly kind of forgettable for me. It isn't outright bad or anything, but I never cared much for it.

Make up your mind is a bit better, but still kind of meh as far as her songs go for me.

Which witch makes up for the two previous songs. It's almost a parody of her music but it's so good. Definitely feels like it's from a different body of work (it is). It goes well with Breath of life.

Conductor is a bit of an odd song, never cared much for it although the idea is interesting.

Pure feeling I like over conductor, but never found myself returning to it much

Everybody Scream was launched into straight away, far more explosive than the album version which always felt like it lacked punch to me. For the first time ever she has dancers and they just go wild here.

Witch Dance is another song that outshines the album version, particularly the second half of the song.

Shake it out went by pretty quickly, but she tackles it better her than she has previous times when I've seen her, when she used to have a tendency to let the audience or choir handle things.

Seven Devils was a song I never thought I'd hear. An unreleased song from the second album that was barely played on Ceremonials' own tour and was often picked out by critics as the song where Ceremonials began to drag. Well it suits this show, the lighting and writhing dancers are perfect and she nails it.

Big God was great, another fave of mine but I was surprised at how little the dancers did for this song. I mean it already has it's own routine but she was bouncing around herself for most of this while they sat down or lay on the floor.

Daffodil was fine. Seemed a bit strange here as a choice though, I can see why other songs were chosen but an album only DF track?. Performance wise it's fine like I said but idk I have other tracks I'd have preferred.

Which Witch is one I'm so glad to have finally caught. And it was touching how much of the crowd knew the lyrics for what is, at the end of the day, a deluxe version demo. Highlight. Only gripe though was that the crowd was roaring so much it cut off the final chant.

Cosmic Love was brilliant as always. Tom even got a little solo which was cool to see. I thought she might have done an acoustic version but thankfully she went for all in drums. Absolute classic, may it never leave the setlist.

Spectrum was great as well, another song she performs far better now than in the past, where again she used to leave the heavy lifting to the crowd or choir. Not anymore and it's all the better for it. Was a bit surprised to see the dancers mostly absent for this one, seemed a natural fit.

Never let me go replaced YCHIA. I kind of rank them on a similar level and I suspect the change may be due to how emotionally difficult it would be to perform. It was a real crowd pleaser at any rate.

Hunger replaced Music by men thank fuck. It was fine but the tempo seemed different. All the people singing along beside me kept getting caught out by it.

Buckle was unfortunately still here. The part about having to sing it forever because everyone loves it sounded like a threat lmao. Anyway, obviously I do not like this song, and this didn't make me change mind. At least it's short.

King was pretty bouncy and fun.

The old religion is one of my faves off of this new album and it was great. Kind of felt a little rushed but maybe I just wanted more of it.

Howl is another deep cut. It certainly suits the theme. So cool to hear it again after all these years. She dropped it as it was supposedly was very hard to sing but if it is you certainly couldn't tell. The dancers went crazy for this one too. Another highlight. Really shows the strength of your back catalogue when an album only filler song can be so good.

Heaven is here was expected and really suited the theme. Best part of the dancing.

Sympathy Magic is another song that shines better live. She went down into the crowd for what felt like an age though at the end. Maybe I just had shit seat FOMO.

One of the greats was really well done. The guitarist got a little cool solo bit while she emerged from the crowd. Didn't hold back at all with the rage. Highlight.

Dog days are over was surprisingly not the last song. It was great as always but felt a little rushed along. I'm just grateful she's stopped asking people to hold hands. This is deffo better at a festival, it's awkward being asked to jump in a stadium.

Free is another song I'm not too keen on but it was ok. Seems to have replaced rabbit heart in a way, you pick it up and put it down instead of raising it up.

And love was a deliberate pace breaker. It was a nice send off and Tom really gets to let loose here.