As New York came to a quiet lull between a wild winter and the blooms of spring, Mumford & Sons released their first album in nearly seven years just in time to fit the mood. “Rushmere,” which is their fifth studio album, is named after a pub in Wimbledon Common where they first decided to form a band. For band members Marcus Mumford, Ben Lovett and Ted Dwane, this is their first release as a trio; the lead guitarist Winston Marshall left the band in 2021 following a controversy related to his social media presence and support for a right-wing journalist.
The 10 tracks in their album “Rushmere” encapsulate themes of growing up, appreciating life and learning from experience. In a post on Instagram announcing the release of the title track, the band shared that they “have a lot of songs to share with you … and it all begins where we started, really, with ‘Rushmere.’” The album lets the voices of the three bandmates speak for themselves, literally and metaphorically. Most of the tracks are vocals-forward and rely on mellifluous harmonies that blend from one song into the next.
The album opens with “Malibu,” which starts as a slow-strummed guitar piece and morphs into an all-out belter of a ballad, inviting in banjo and piano lines that build the song to its peak with Mumford’s swelling vocals at the forefront. “Malibu” sets the tone of the record as an introspective, moving collection of songs that strike a chord for many listeners. Much of the album feels like a true return to the folk-rock style that Mumford & Sons have been strumming for decades on songs like “I Will Wait,” which transport many of us back to 2012 radio hits in the backseat of our parents’ cars.
Though four of the ten tracks are reminiscent of the boot-stomping, banjo-picking tunes of Mumford & Sons’ past, “Rushmere” is heavy on slower, harmony-forward songs. On “Where It Belongs,” the song’s texture emerges through the low timber of piano and acoustic guitar, though the soft harmony of their vocals takes the lead. The listener is asked, “When you speak, do you think you could do it kindly? / Or does your anger overwhelm?” The refrain continues, “When you’re weak, do you ever think of living wildly / and let your anger go to hell / where it belongs.” More than anything, “Where It Belongs” serves as a reminder of the impact of our words on ourselves and the people around us and offers a peaceful alternative to speaking rashly or holding onto anger.
On track seven, “Anchor,” a lover takes responsibility, reflecting on mistakes for which they blame themself: “Well maybe I was wrong but baby, I was only young / I was trying to burn a hole in you with someone else’s sun / but now I’ve got to know myself, know I’m the one that needed help.” Later, on top of a simple guitar line, they construct a vivid image and liken themself to the thing dragging them down, preventing them from saving their relationship in time, “I can’t say I’m sorry if I’m always on the run, from the anchor.”
“Rushmere” boasts one featured artist on its penultimate track, “Blood on the Page.” Madison Cunningham, who has recently been featured on albums of countless artists like Jacob Collier, Lake Street Dive and Lucius, never stands alone on a verse but rather blends in beautifully with Mumford in yet another harmony-driven number.
From the top to the bottom, “Rushmere” welcomes listeners into a world of self-reflection and growth. For lifelong Mumford & Sons fans, the album works as a display of their notorious stomp-and-clap style while highlighting their vocal strength; for those who are new to the band, “Rushmere” serves as a delicate introduction to a powerful group.
