Archives For the lumineers

Around the time they played The Basement in late April, you’d have been hard pressed to find a radio station playing anything by The Lumineers,and for good reason, as their debut album had just been released at the beginning of the month. By the middle of June, however, they were nearly ubiquitous, the buzz-band on the mind of tastemakers and musical novices alike. It was no surprise then when they sold out their upcoming August show at the Mercy Lounge within a matter of hours prompting an upgrade to the Cannery Ballroom, which subsequently sold out a few hours later as well.

On the surface, it’d be easy to pinpoint a catchy, fast-rising single with perpetual radio and TV commercial play as the reason for The Lumineers meteoric rise, reminding many of the seemingly overnight emergence of bands like Local Natives and The Head and the Heart. No doubt, “Ho Hey” is a great song that has turned many of us into Lumineers apologists in Nashville and all across the country, and specifically here in Nashville. They are a great band full of unrestrained talent and grace, but it’s the depth of their self-titled debut album that indicates they might have some staying power beyond their burgeoning fanbase. The album, certainly among the best released in 2012 so far, is the first since Mumford & Sons’ “Sigh No More” that I have personally put on repeat for months on end. Apparently, the same appears to be the case for the rest of Nashville as their show at The Cannery Ballroom Tuesday night turned into the 2nd largest sing-along I’ve attended, behind only Mumford & Sons’ concert, nee revival, at War Memorial Auditorium in November 2010.

The Lumineers navigated their way through their entire 11-track album, to which it seemed the entire crowd knew all of the words to. Playing those tracks alone would have made for a very good show, even a great one. However, the additions of unreleased tracks such as “I Ain’t Nobody’s Problem” and “Eloise”, a well-placed cover of Bob Dylan’s “Subterranean Homesick Blues” and The Band’s seminal “The Weight” featuring several members of Old Crow Medicine Show are what helped the performance nearly reach its zenith moment. But just when it seemed the show might be over and as the Old Crow boys left the stage following the first song of the encore, The Lumineers made their way deep into the crowd and set up shop in the middle of the room, right next to us, standing on stools and chairs, for an acoustic version of “Darlene,” a foot-stomping tribute to all things love featuring percussionist Jeremiah Fraites with easily the best glockenspiel performance that we’ve ever seen.

It can’t be understated how difficult it can be for a band to draw the collective embrace of a crowd by simply playing the songs they know so well let alone the attention of a packed house for new songs that the majority of people may have never been heard. But The Lumineers have the energy and exuberance that envelops their fans and unwraps a shimmy and a frolic out of even the most flat-footed concert-goer. While the music industry can often have trouble supporting the rapid growth of a band like The Lumineers, their resplendent personalities, polished songwriting and seasoned stage presence indicate they certainly will be around for many, many shows capable of dwarfing their already impressive performances.

– Brad Hughes

(This is the first post (of many! I hope) from Cause A Scene’s newest contributor, Molly Williams. Molly relocated from Ohio to Nashville last year and writes for the aptly-named blog, ohio to nashville, which I have personally discovered great new music and fascinating blogs on. There is a 110% chance she is a better writer than me, and I’m glad to have her on the Cause A Scene team. Welcome, Molly!)

Big things are happening for a new folk trio out of Denver that released their first demos back in 2009 after coming together in light of a difficult loss. If you’ve heard of them there’s a good chance you’ve lost track of the number of times you’ve listened to their songs, and if you haven’t, get ready. The Lumineers are catching attention – recently playing and wowing crowds at SXSW, showing up in Paste Magazine and The New York Times, and releasing their first official video for their addictive “Ho Hey.”

Their self-titled album, released on April 3, will have you hooked from the first listen. The trio’s infectious sound has a rustic charm reminiscent of The Avett Brothers, The Head and the Heart, and even some early Whiskeytown. It’s hard to deny the hand clapping, foot stomping, and chorus shouting that can be heard in many of the tracks. The “heart-on-the-sleeve” stories woven by Wesley Shultz’s lyrics blend naturally with Neyla Pekarek’s cello and Jeremiah Fraites’ percussion on songs like “Submarines”.

Ballads like “Slow It Down” perfectly balance out the solid collection of chorus-focused songs and feature Shultz’s raw, stripped-down vocals and brilliant songwriting. Every track will keep you hooked and leave you wanting more.

The Lumineers have accomplished something rare in their debut album – a sound comparable to what you would expect only from a live performance. Tracks like “Stubborn Love” and “Flowers in Your Hair” will have you searching for the trio’s next live performance in your town. If you’re in Nashville, don’t miss The Lumineers at The Basement on Friday, April 27.

So whether it’s for the hundredth time since last week’s release or for the very first time, go listen to the album, available on iTunes. It’s sure to be one of this year’s top Americana and folk rock debuts and the first of many for this group.