Florence and the Machine + Hanni El Khatib at the Aragon | Photos + live review

The Aragon, with its ornate Spanish villa theme, shouldn't seem like the proper setting for anything save gargantuan flamenco sessions. And yet, for both of the acts performing there this past Saturday night, it seemed strangely fitting, perhaps because the venue is so fantastical. 

Underneath the stars painted on the ceiling, stripped-down rhythm n' blues juke-box rocker Hanni El Khatib seemed out of place. But I get the feeling he's used to that. He strikes me as a guy who revels in going against the grain; his style is that of the American rebel. Opening for Florence and the Machine, Khatib's bare-bones vintage greaser guitar thrashing was an inappropriate lead-in to the U.K. star's celestial pop. That didn't stop him from barreling through his half-hour set with admirable gusto, and within those walls—which have seen performances by everyone from Cypress Hill to Mastadon—he held his own quite well.

The most apt comparison—and the one most bestowed upon him—is to the Black Keys, something I'd imagine Florence fans would be familiar with. A few loyal Machinists in attendance feigned interest, but for the most part the audience chatted—or groaned—during his set. A few feedback issues didn't help. Given the setting, I didn't love everything he did, as his sound was not what most of us were in the mood for. I warmed to him toward the end of his set as he adopted a poppier feel—like a testosterone-and-distortion-fueled Cults.

The main event was Florence, and given her twinkling baroque sound, the outlandish setting couldn't have been better. Florence Welch shined like an emerald-green goddess as a black veil dropped to reveal her and her five-piece during the atmospheric opening seconds of "My Boy Builds Coffins." Dressed in a semi-sheer floor-length gown with a thigh-high slit and billowy cape, she was an angelic vision. The steady touring following the runaway success of her debut album, Lungs, has treated her well. Twirling, skipping, bouncing and belting, she has honed the performer in her.

The road-warrior lifestyle has also bleed into to her material. The band took considerable liberties with staples like "Hurricane Drunk" and "I'm Not Calling You a Liar," varying tempo and intensity from the songs' album counterparts. Welch's confidence has grown since the last time she was in town. Stretching notes, pausing for effect and teasing out lyrics, she's become truly captivating.

She's also been busy in the studio. The band dished three new songs, including "What the Water Gave Me," and tacked on a cover of Gaga's "Judas" for good measure.

But it was still her hits that had everyone hot n' bothered. "Cosmic Love," "You've Got the Love" and "Rabbit Heart" were accompanied by the din of one big sing-along. Naturally, set closer "Dog Days Are Over" induced real chaos. After a dramatic pause set the sold-out crowd  to stomping, whistling and screaming for more, the band returned and harnessed that energy into a romping finale of hand-claps, screaming and jumping.

Seeing Florence and the Machine for the second time, I'm undoubtedly convinced that it is a force of nature; one that won't be losing momentum anytime soon.