It seems that all my bridges have been burned you say that's exactly how this grace thing works...
As someone who doesn't listen to the radio, I wasn't swept up in the craze of Little Lion Man when Mumford & Sons first hit our shores. Imagine my disappointment when, several weeks later, I was introduced to their debut album, Sigh No More, and realised what I had missed.
So when their Australia Stopover Tour was announced, there was no way I was going to make that mistake again. Preferring an intimate setting to Sydney's Entertainment Centre, I made the decision to road trip it down to Canberra after work on Friday to see them at the Royal Theatre.
Well versed in their first release, I had spent previous weeks blasting their sophomore effort, Babel, but hadn't yet been convinced that it was as strong as its predecessor; Friday night allayed any reservations I had.
With a stellar set that provided a great mix of released material, album favourites, and covers (two with support act, Edward Sharpe and the Magnetic Zeros), they showcased their fantastic harmonies, multi-instrumental proficiency, and clever lyrics, with a zest and zeal which their dapper image does not portray.
One of my favourite things about this band is their way with words - whether quoting Shakespeare or parables, they weave them so eloquently through their songs. And the concert exposed me to lyrics I'd never noticed, made me appreciate tracks I'd never paid much mind to previously.
And I have to pay tribute to the amazing lights, which I don't usually care for during concerts - they either distract from the main attraction or fade into redundant obscurity. But this design enhanced the songs and created a beautiful atmosphere: festival lights strung over the audience; candlelight simulated against the walls; rolling lights when they were building to a crescendo.
My only complaint was that they have too many great songs and I didn't hear all the ones I had hoped to. Which is more of a compliment; considering they only had 26 original recorded works to choose from, it's a testament to their songwriting ability that any exclusion would have been missed. Broken Crown, White Blank Page and my favourite, Sigh No More, would have been amazing inclusions.
SET-LIST
Babel (I can't think of a better way to open the show - the title track of their most recent album is pacy; boasts an array of instruments, punctuated by their trademark banjo; and the lead's smoky vocals weave some brilliant lyrics: "Press my nose up to the glass around your heart")
Little Lion Man (I was surprised that they dared to throw this one in so early, but it didn't dimish the audience's enthusiasm for all to come)
Roll Away Your Stone
Holland Road
Timshel (so haunting and so damn beautiful - their raw harmonies over acoustic instruments was absolutely chilling)
Below My Feet
I Will Wait
Lover of the Light
Thistle & Weeds
Ghosts That We Knew
The Boxer (Simon & Garfunkel cover)
Awake My Soul (after Sigh No More, this is my favourite song and I was giddily happy they'd included it!)
Whispers in the Dark
Dust Bowl Dance
[Encore]
Lovers' Eyes
Where Are You Now? (Very rarely do I catch myself in a moment for long enough to fully appreciate the magnitude of what I'm experiencing. They silenced an at capacity venue with this acoustic track, unaccompanied by technology, bringing them to a rapturous applause - possibly the biggest of the night - at its conclusion. Goosebumps!)
The Cave (I wouldn't have picked this as a closer, but the live version is exponentially more intense and energetic than the studio one)
Lean On Me (Bill Withers cover with Edward Sharpe And The Magnetic Zeros) - an unrehearsed number born from some onstage jamming when the support act returned to the stage to take their final bow of the tour
The Chain (Fleetwood Mac cover with Edward Sharpe And The Magnetic Zeros)
So when their Australia Stopover Tour was announced, there was no way I was going to make that mistake again. Preferring an intimate setting to Sydney's Entertainment Centre, I made the decision to road trip it down to Canberra after work on Friday to see them at the Royal Theatre.
Well versed in their first release, I had spent previous weeks blasting their sophomore effort, Babel, but hadn't yet been convinced that it was as strong as its predecessor; Friday night allayed any reservations I had.
With a stellar set that provided a great mix of released material, album favourites, and covers (two with support act, Edward Sharpe and the Magnetic Zeros), they showcased their fantastic harmonies, multi-instrumental proficiency, and clever lyrics, with a zest and zeal which their dapper image does not portray.
One of my favourite things about this band is their way with words - whether quoting Shakespeare or parables, they weave them so eloquently through their songs. And the concert exposed me to lyrics I'd never noticed, made me appreciate tracks I'd never paid much mind to previously.
And I have to pay tribute to the amazing lights, which I don't usually care for during concerts - they either distract from the main attraction or fade into redundant obscurity. But this design enhanced the songs and created a beautiful atmosphere: festival lights strung over the audience; candlelight simulated against the walls; rolling lights when they were building to a crescendo.
My only complaint was that they have too many great songs and I didn't hear all the ones I had hoped to. Which is more of a compliment; considering they only had 26 original recorded works to choose from, it's a testament to their songwriting ability that any exclusion would have been missed. Broken Crown, White Blank Page and my favourite, Sigh No More, would have been amazing inclusions.
SET-LIST
Babel (I can't think of a better way to open the show - the title track of their most recent album is pacy; boasts an array of instruments, punctuated by their trademark banjo; and the lead's smoky vocals weave some brilliant lyrics: "Press my nose up to the glass around your heart")
Little Lion Man (I was surprised that they dared to throw this one in so early, but it didn't dimish the audience's enthusiasm for all to come)
Roll Away Your Stone
Holland Road
Timshel (so haunting and so damn beautiful - their raw harmonies over acoustic instruments was absolutely chilling)
Below My Feet
I Will Wait
Lover of the Light
Thistle & Weeds
Ghosts That We Knew
The Boxer (Simon & Garfunkel cover)
Awake My Soul (after Sigh No More, this is my favourite song and I was giddily happy they'd included it!)
Whispers in the Dark
Dust Bowl Dance
[Encore]
Lovers' Eyes
Where Are You Now? (Very rarely do I catch myself in a moment for long enough to fully appreciate the magnitude of what I'm experiencing. They silenced an at capacity venue with this acoustic track, unaccompanied by technology, bringing them to a rapturous applause - possibly the biggest of the night - at its conclusion. Goosebumps!)
The Cave (I wouldn't have picked this as a closer, but the live version is exponentially more intense and energetic than the studio one)
Lean On Me (Bill Withers cover with Edward Sharpe And The Magnetic Zeros) - an unrehearsed number born from some onstage jamming when the support act returned to the stage to take their final bow of the tour
The Chain (Fleetwood Mac cover with Edward Sharpe And The Magnetic Zeros)