Florence and the Machine performs at Shoreline Amphitheatre in Mountain View, Calif., on Oct. 9, 2022. Photo: Lillie Eiger. 

MOUNTAIN VIEW, Calif. — Florence Welch of Florence and the Machine came to Shoreline Amphitheatre to make people dance with a set loaded with songs from her fifth album, Dance Fever.

Attendees at the antepenultimate show of the tour stayed on their feet through the entire performance, dancing, jumping and shouting lyrics at the top of their lungs. The London singer-songwriter’s latest LP is another feather in the cap of hit records that drives the obsession for avid fans to this day.

Welch, her feet bare and her red hair flowing down her back, and her group of multi-instrumental musicians, walked onto the stage sparsely decorated with three candelabra sculptures. She raised her arms and struck a dramatic pose as the band played feverishly, then launched into new track “Heaven Is Here.” She accentuated the dramatic drumming in between stanzas by punching in the air and pointing at the audience, furtively pacing the stage while singing in perfect pitch, strongly projecting her voice to the crowd.

The energy didn’t let up for a moment. The stage light shifted to red as Florence and the Machine launched into another new tune, “King.” The song ended with the band singing the ending sequence in choral format and Welch, in a sheer floor-length sea foam dress hitting her signature dance moves to violin and harp flourishes.

During “Ship to Wreck,” from her third album, How Big, How Blue, How Beautiful, Welch urged people to hop on their feet to the beat of the music.

“You having a good time?” she asked before the band launched into another new song, “Free,” then “Daffodil.” During a pause in “Dog Days Are Over,” from debut album Lungs, Welch asked if anyone at the concert was seeing her for the first time, to which one person in the front raised their hand.

“Welcome! Don’t be scared, you’re gonna be fine,” she said. “An intense seat to get for your first time, but I’m going to take care of you. And you don’t know what I mean by that yet!”

She continued with a devilish smile: “And to anyone who was brought along or who is chaperoning, and you’re wondering, ‘What the fuck is this? Is it a show or is it a cult? Is it a musical about a haunted house? Is it some kind of mad, British, pagan dance ceremony? Am I safe?’ … If you have been brought along and you’re scared and confused right now, all I can say to you is it’s so much better if you just give in to it, honestly. If you listen to every little thing I say, you will be absolutely fine.”

Welch then customarily asked people to put their phones away and dance and hop around without inhibition to “Dog Days Are Over.”

The latter half of the performance included Dance Fever cuts like “Girls Against God,” “Dreamgirl Evil,” “Prayer Factory” and “Cassandra,” as well as a smattering from earlier albums, such as High As Hope‘s “Big God,” “June” and “Hunger;” How Big, How Blue, How Beautiful‘s “What Kind of Man” and Lungs‘ “Kiss With A Fist” and “Cosmic Love.”

After a short break, Welch and her band returned to finish up with “Never Let Me Go,” “Shake It Out,” and “Rabbit Heart (Raise It Up).”

U.K. duo Wet Leg, making seemingly its fifth or sixth Bay Area appearance since the re-start of concerts, opened the show with a very loud set of garage rock songs from their recent debut album. Rhian Teasdale and Hester Chambers were backed by a keyboardist, drummer and a couple of guitarists on several songs, including debut single “Chaise Longue.”

Follow Mel Bowman at Twitter.com/melmichel and Instagram.com/coco_michel_coco.