Live Review: Florence & The Machine, Jack Ladder & The Dreamlanders

Tonight's headliner inspires a lot of floral wreaths on fans' heads, which is something we note while navigating our way down into the Bowl. Jack Ladder & The Dreamlanders are all suited-up and ready to rock'n'roll. Ladder's deep croon makes us swoon during Come On Back This Way and he's also mastered some seriously dashing Bryan Ferry moves. The caterwauling Reputation Amputation evokes Marilyn Manson's The Beautiful People. Ladder's four-piece backing band slay, but where's Kirin J Callinan? Obviously busy with his own solo career, but his presence is missed regardless. And we sulk when Cold Feet doesn't make an appearance. 

Florence & The Machine's squad enter the stage space as we admire the shimmering backdrop of metallic mosaic that catches the light. Then Florence Welch appears wearing flared white strides and matching white top — a tailored vest/blousy sleeves combo. She skips across the full length of the stage like an Earth Mother in her bare feet during opener What The Water Gave Me (obviously breaking her toe after jumping off the Coachella stage earlier this year hasn't curbed those dancing feet and she does take a tumble later in the evening). Her rhythmic, jazz-style hand gestures call to mind Kimbra. Have you watched True Blood? Welch's dancing could be an audition for the Maenad character; she's got such a beautiful voice she probably doesn't need all the tryhard Kate Bush moves, though. After encouraging punters up on shoulders before Rabbit Heart (Raise It Up), Welch bolts up the side aisle to the GA barrier (led by a security guard, which kinda ruins the spontaneity of it all). Watching her climb up on top of it and address the hill is pretty ace. After returning to the stage, Welch tells us she's gonna ask us to do something "controversial" (we anticipate free the nipple) and requests that we put our phones away. Welch says she sees them from the stage and they "bum [her] out". A nearby geezer yells out, "You're my favourite redhead!" Her version of You've Got The Love is exquisite. What glorious harp! 

Welch notices a banner that reads "How Big How Blue How About A Hug" (kinda referencing How Big, How Blue, How Beautiful), calls its bearer Chloe up to the stage and grants the fan her wish. How anyone with such a magnificent, powerful singing voice and presence has such a demure speaking voice is one of life's great mysteries. A mum/chaperone behind us is overheard advising her primary school-aged child, "No, you're not going to school tomorrow." After telling us that Dog Days Are Over was written in Crystal Palace, Welch then doesn't play the song — such a tease! The all-female brass section on stage enlivens the already glorious mix. Spectrum (Say My Name) is a highlight with that amazing synth modulation. Now it's time for Dog Days Are Over, but just as we get going Welch shushes us. She's right, though, it sure is fun spinning a garment overhead like a helicopter blade while you simultaneously pogo. Welch sweeps across the front of the stage to collect a few souvenirs from punters' hands as they helicopter (although we're sure they don't mind).   

Moments of the main set are way better received than the encore songs but, at the end of the day, you certainly can't fault that voice!