Florence + the Machine takes a dark turn at the Aragon

In the three years since Florence + the Machine singer Florence Welch first made waves in the UK with the punkish-pop catch of "Kiss with the Fist" – a song surprisingly missing from their set at Aragon Ballroom on Saturday – she's blossomed from an impressive soulful singer into a beguiling performer. Last year, her performance at a sold-out House of Blues hinted at her prowess; it was more fun and frenetic than polished, though. This time at the larger, sold-out Aragon, Welch added dark allure and elegance into the mix. And her nuanced set, which featured a couple new songs, signaled an intriguing new direction.

The group's 2009 debut album, "Lungs" was a hit in the UK, climbing to No. 1 on the charts. The band's popularity Stateside, however, was a relatively slower rise. Several 2010 appearances helped propel Florence + the Machine's recognition on these shores: among them was their "Heavy in Your Arms" being featured on the "The Twilight Saga: Eclipse" soundtrack, and a compelling "Dog Days are Over" performance during MTV's Videos Music Awards show.

The couple years on the road and high profile appearances have served them well, helping shape the more mature, darker and gothier approach Welch and company exhibited on Saturday. Taking a cue from the fairy tale garb Welch wore at the Video Music Awards, she appeared barefoot, working the drapey emerald green dress she wore in a dramatic fashion. Pirouetting about the stage, and striking theatric poses, Welch was nymph- and siren-like, seemingly weaving a scene for something dark, mysterious and otherworldly to transpire.

Welch had ample talent to match a lofty setup; at center was her voice. She is an emotive, powerhouse vocalist, caterwauling through several ranges, often in the span of a few seconds, such as during "Drumming Song." Its rhythmic beginnings, where Welch used a drumstick to conduct the audience before hitting a drum onstage, gave way to a foreboding melody before she let out a piercing scream, then effortlessly reprised back to an almost gospel tone. She and her band navigated exhilarating arrangements with ease as well, such as during the excellent goth-fused "Howl" and when Welch launched a couple bars of Lady Gaga's "Judas" that melted into "Blinding." The anthemic "Rabbit Heart (Raise it Up)" was equally enchanting.

And while the catchy "Dog Days are Over" may have brought them more attention here, this performance showcased Florence + the Machine achieving wider depths and scope.