Mumford & Sons Embrace Storytelling’s Sublimity

Mumford & Sons’ fifth studio album, “RUSHMERE,” returns the band to its folk rock roots. Released March 28, the record is a nostalgic work of storytelling and wisdom. 

“RUSHMERE” is the band’s first release in nearly seven years. Coinciding with the new release, Mumford & Sons will also go on tour in the upcoming months for the first time since 2018. 

The band’s break was prolonged by Winston Marshall, former banjoist and guitarist, leaving the group in 2021, and lead vocalist Marcus Mumford turning to solo endeavors in 2022. While Mumford was touring his solo album, the band, now a trio, began working on “RUSHMERE.”

The recent resurgence of 2010s folk pop by famed acts like the Lumineers and even satirical musicians like Kyle Gordon has been met with favorable responses from younger audiences, opening the door for Mumford & Sons to continue their brand of folk rock over a decade after debuting.

“Malibu” establishes the album’s rustic tone with acoustic guitar and soulful vocals from Mumford. A gentle melody provides a heartfelt touch to the track’s peaceful lyricism, focused on leaning on friends and lovers for support when listeners are struggling. 

Double bass blends with backing guitars on “Caroline” form a twangy composition supported by raspy vocals. The song recounts the heartbreak of slowly growing apart from a lover. 

The title track “Rushmere” picks up the record’s pace with banjo and a rhythmic beat. The fast-paced tempo comes to a fluttering end, leading into the quietude depicted in the next track, “Monochrome.”

“Monochrome” substitutes the whirlwind of life with simplicity. Subtle acoustic instrumentation creates a tranquil melody sustained by airy vocals. 

Electric guitar makes a rare appearance on “Truth,” a track that proves the band can still produce a rock hit. Heavy percussion compliments the stringed instrument, fueling fiery lyricism from Mumford about the world’s current state. 

“I refuse to offer myself up to men who lie / Spit and sell and smirk, out the corner of their eye / If there’s a fire in the almost places / Leaves us nowhere else to go,” Mumford sings. 

“Where It Belongs” brings the album back down to Earth with mellow piano riffs in between verses. The track spurs internal reflection among listeners with questions about how they choose to channel their anger. 

The ensuing “Anchor” follows a person reflecting on past habits, burning relationships with others while still fig​​hting their own personal fire. Acoustic guitar takes the lead on forming an eloquent melody, rising and falling alongside the vocals. 

“Surrender” is a quintessentially folk track with thumping bass and gravelly vocals. Mumford vocalizes his own surrender from the shackles of violence and pain so he can find peace in a loving relationship. 

“And it’s violent work, there’s some death on the vine / I know I’m walking a treacherous line / Defeat and surrender always feel the same to me / But what does that matter? They both bring me to my knees,” Mumford sings. 

The lyrics argue regardless of if it’s interpreted as defeat, surrender is still a meaningful human experience.

“Blood on the Page” is a calming track infused with vocals from folk rock singer Madison Cunningham. Tender guitar chords carry the album toward the finish line with a composition as serene as ocean waves crashing against the shore. 

“Carry On” brings the album to a measured end with pulsing bass and optimistic lyricism. The track encourages listeners to carry on in spite of life’s hardships.

“I will take this darkness over any light you cast / You and all your original sin / Carry on / Carry on / ’Cause there’s no evil in a child’s eyes,” Mumford sings. 

Mumford and Sons’ “RUSHMERE” reinforces their aptitude for folk music brimming with nostalgia and purpose. The record puts forth a necessary placidity for dedicated fans and new listeners alike.

“RUSHMERE” is available on all major streaming platforms.