Everybody Scream by Florence + the Machine is a chant-led title track about turning private anxiety into collective release, paired with a video directed by Autumn de Wilde and tied to an album arriving October 31, 2025.
No preamble. A drum thud, a breath, then a command that doubles as a welcome, “everybody scream.”
The room answers because the song asks for more than listening, it asks for participation.
Written and produced by Florence Welch, with James Ford, James McAlister, and Stuart Bogie shaping the pulse and the air around it, the single plants a flag for a Halloween-bound era while de Wilde builds the visual world around it.
The groove sits in an eerie trot, neither ballad nor blitz, a steady push built from kick, hand-clap accents, and a low-ceiling bass figure.
A chilling choir shadows the main vocal on those barked imperatives, and bright synth flickers flash in the gaps.
It is a lean arrangement by Florence standards, less cathedral swell, more bonfire circle, with Bogie’s woodwind textures drifting at the edges like smoke.
Welch’s delivery toggles between ringleader and witness. Verses keep the tone conversational and clipped, the choruses jump to a chest-voice bite that cuts through the choir, and every so often she lifts into a short, open-throat yelp that reads more theatre cue than melisma.
If Dance Fever chased ecstatic lift, this track deals in stamina and repetition, the kind of cadence that works on a festival stage as a call-and-answer engine.
The lyric sheet favours small commands and compact images. Everybody scream lands like a conductor’s cue.
“Look at me run myself ragged” frames the performer as both host and sacrifice.
“Blood on the stage” pushes the scene from metaphor toward something stickier, and the crowd is written in as a character when she notes “screaming my name.” Keep the shards small and the meaning travels fast.
De Wilde’s video matches that economy. It stages a countryside possession with bodies jerking, running, and screaming, a set of images that underline the track’s ritual framing.
IDLES’ Mark Bowen appears on screen, a wink toward the album’s collaborators already named in announcements and early coverage.
Here is where the review steps back from the smoke machine. The chant is effective, but it is also a risk.
On first pass the hook feels primal and easy to join; on repeat plays it can scan as one-note, a slogan in search of a melodic surprise.
The stacked choir is muscular, yet it sometimes crowds Welch’s timbre in the upper mids, which flattens dynamics in a mix that aims for impact over detail.
Listeners who prefer the harmonic turns of Hunger or the barbed pop of My Love may miss a left-turn chord or a melodic pivot to break the spell.
Those trade-offs are deliberate, but they narrow the lane to people who enjoy the incantation more than the tune. (If you love the communal chant side of Florence, this will hit; if you come for intricate melodic arcs, you may want one more twist before the fade.
There is thematic continuity that earns the repetition. Welch has spoken about the sheer volume required to be taken seriously as a woman on a stage.
“You spend a lot of time screaming into the void for people to take you seriously,” she said in 2022.
That sentiment echoes here, except the void is filled with an audience that answers back, which is part of why the hook lands live even more than on headphones.
Early reactions reflect that split. Pop forums are giddy about the chorus and the tour-readiness, while others clock the song’s reliance on chant and mood over harmonic payoff.
That divergence is useful context, not a scoreboard, and it tracks with what the single is built to do.
On the facts, the table is set. The title track comes with a video by Autumn de Wilde.
Album collaborators for the Everybody Scream era include Mark Bowen (IDLES), Aaron Dessner, and Mitski.
The single features James Ford, James McAlister, Stuart Bogie. The album is out October 31, 2025, with multiple formats listed on the official store.
If you want the quickest route in, press play on the official video and let the chant set your breathing.
If you prefer to read before you hear, file this as Florence building a set-opener designed for bodies in a field, a song that chooses collective release over melodic intrigue.
The open question to carry into October is simple enough to write on a wristband, when she asks everybody to scream, what are you letting out.
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Florence and the Machine Everybody Scream Lyrics
Intro
Ah-ah-ah-ah-ah
Ah-ah-ah-ah-ah
Ah-ah-ah-ah-ah
Ah-ah-ah-ah-ah-ah-ah
Ooh (Ah)
Verse 1
Get on the stage (Dance) and I call her (Sing) by her first name (Groove)
Try to stay away (Move) but I always meet (Shake) her back at this place (Scream)
She gives me everything (Love), I feel no pain
I break down, get up (No), do it all again
Because it’s never enough (Live) and she makes me feel loved (Breathe)
I could come here (Go) and scream as loud as I want (Scream)
Pre-Chorus
Everybody dance (Ah)
Everybody sing (Ah)
Everybody move (Ah)
Everybody scream
Chorus
Here, I don’t have to quiet
Here, I don’t have to be kind
Extraordinary and normal all at the same time
But look at me run myself ragged
Blood on the stage
But how can I leave you when you’re screaming my name?
Screaming my name
Verse 2
I will come to you in the evening, ragged and reeling
Shaking my gold like a tambourine
A bouquet of brambles, all twisted and tangled
I’ll make you sing for me, I’ll make you scream
Pre-Chorus
Everybody dance (Ah)
Everybody sing (Ah)
Everybody move (Ah)
Everybody scream
Chorus
Here, I can take up the whole of the sky
Unfurling, becoming my full size
And look at me burst through the ceiling
Aren’t you so glad you came
Breathless and begging and screaming my name
Screaming my name
Bridge
Everybody jump
Everybody sing
Everybody move
Everybody scream
Everybody shake
With death and scream
Everybody up
Everybody scream
Outro
The witchcraft, the medicine, the spells and the injections
The harvest, the needle protect me from evil
The magic and the misery, madness and the mystery
Oh, what has it done to me?
Everybody scream
