The tour, which includes arena stops at New York City’s Madison Square Garden and Los Angeles’ Hollywood Bowl, will be joined by Arlo Parks, Sam Fender, King Princess, Yves Tumor, Japanese Breakfast and Wet Leg on select dates. See the full tour schedule below.
The run of massive gigs are in support of the Florence Welch-led band’s forthcoming album ‘Dance Fever’, which drops on May 13. The album has been previewed with the singles ‘My Love’, ‘King’, and ‘Heaven Is Here’.
These new dates follow the announcement that Florence will play two very special intimate shows in the US this spring: April 29 in Los Angeles at the Los Angeles Theatre and May 6 at Lincoln Center’s Alice Tully Hall in New York. View ticket details here.
29 – Los Angeles, CA – Los Angeles Theater
6 – New York, NY – Alice Tully Hall at Lincoln Center
2 – Montreal, QC – Place Bell
3 – Toronto, ON – Budweiser Stage
7 – Chicago, IL – Huntington Bank Pavilion at Northerly Island
8 – St. Paul, MN – Xcel Energy Center
10 – Clarkson, MI – Pine Knob Music Theatre
12 – Washington, DC – Capital One Arena
14 – Boston, MA – TD Garden
16 – New York, NY – Madison Square Garden
20 – Ascend Amphitheater – Nashville, TN
21 – Alpharetta, GA – Ameris Bank Amphitheater
23 – Orlando, FL – Amway Center
24 – Miami, FL – FTX Arena
27 – Austin, TX – Moody Center
28 – Irving, TX – The Pavilion at Toyota Music Factory
1 – Denver, CO – Ball Arena
4 – Vancouver, BC – Rogers Arena
6 – Seattle, WA – Climate Pledge Arena
7 – Portland, OR – Theater of the Clouds
9 – Mountain View, CA – Shoreline Amphitheatre
12 – Cal Coast Credit Union Open Air Theatre – San Diego, CA
14 – Los Angeles, CA Hollywood Bowl
Produced by Welch alongside Jack Antonoff and Glass Animals‘ Dave Bayley, the album was largely recorded in London over the course of the COVID-19 pandemic as Welch anticipated the return of clubs, live music and dancing at festivals.
The ‘High As Hope’ follow-up brings back the more “anthemic” side of F+TM, containing shades of “dance, folk, ‘70s Iggy Pop, longing-for-the-road folk tracks a la Lucinda Williams or Emmylou Harris and more”.
At the time of ‘King’’s release, Welch opened up about how she’d started to consider herself as an artist in the context of her gender more after entering her thirties.
“I suddenly feel this tearing of my identity and my desires,” she wrote. “To be a performer but also to want a family might not be as simple for me as it is for my male counterparts.
Welch added: “I had modelled myself almost exclusively on male performers, and for the first time I felt a wall come down between me and my idols as I have to make decisions they did not.”