Mumford & Sons: A rowdy, barnstorming singalong – minus one of the Sons
Britain's favourite purveyors of folk rock are back plying their trade on the high streets, following some adjustments behind the scenes. Mumford & Sons may have lost one of their Sons since they last appeared in the UK in 2019, but it was very much business as usual on stage for an intimate comeback show at London's 2,300-capacity Kentish Town Forum. Banjos, double bass, acoustic and electric guitars, horns, drums, keyboards and mass harmonies were deployed with a gusto that suggested nothing has really changed.
It was a notion affirmed by the roaring delight of a crowd who bellowed singalong parts as if they were at a sporting stadium serenading their heroes to victory. When the band played breakout 2009 hit Little Lion Man early in their set, the noise was deafening, an absolute storm of 'Oh-oh-oh's from stalls to balcony that seemed to take the band aback.
'It's been too long,' admitted bandleader Marcus Mumford contritely, the core trio of keyboardist Ben Lovett and bassist Ted Dwane all grinning with a kind of abashed amazement at their voluminous reception. 'It's good to be home.'
Mumford & Sons last album was Delta in 2018, and they haven't played a full show in the UK since multi-instrumentalist Winston Marshall exited in 2021. It was one of the most curious splits in rock history, with the sensitive and gifted Marshall making some relatively innocuous remarks in support of a Right-wing sympathising American journalist, then effectively kicking himself out in a huff about his right to exorcise 'free speech'. Since that time, Marshall hasn't made any music but has hosted an occasional 'culture warrior' podcast series for the Spectator, which was bought by his hedge fund manager father, Sir Paul Marshall, last year. It remains baffling that anyone would give up this kind of intense, direct, passionate musical connection with an audience to become a podcaster, but let's hope he's happy.
Mumford & Sons seamlessly introduced four new songs, with comeback single Rushmere being received like it was a nostalgic classic. I was particularly taken with a mournful ballad about anger and compassion called Where It Belongs that could serve as an elegiac gesture of friendship to their lost comrade. The tone of Marcus Mumford's voice was replete with notes of sorrow and wisdom, his band mates supporting him with delicacy. There is a strand of critical disdain that dismisses the Mumfords as Coldplay in grandfather shirts, but it overlooks the emotion and care that goes into finely wrought songs that genuinely connect with audiences.
Unfortunately, a club venue like the Forum is not a great place for acoustic sensitivity. There was a lot of noise from the bars in quieter moments, whilst fighting twice broke out bringing the show to a halt. 'Rowdy boys!' noted Marcus bemusedly as troublemakers were muscled out by security. A security guard told me someone spat in his face, then shrugged, 'And they seemed like such a chill crowd!'
It was a rambunctious, barnstorming show, albeit the barn wasn't quite big enough for the occasion. Mumford & Sons have announced upcoming arena and outdoor dates, where the cheery singalong community spirit might better be appreciated. The band themselves seemed united, committed and delighted to be back in action, whilst their fans were near delirious to have them. A final singalong encore of I Will Wait reached a pitch of excitement that surely equalled anything this old venue has hosted before. Mumford & Sons are decidedly back in business.
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