Atwood Magazine’s writers discuss Mumford & Sons’ heartfelt homecoming ‘RUSHMERE,’ a soul-stirring fifth album that sees the band returning to their folk rock roots through warm acoustic textures, soaring, spiritually cleansing harmonies, and sentimental songwriting that echoes the power of love, memory, connection, and communion.

Featured here are Atwood writers Aileen Goos, Lauren Turner, Mitch Mosk, and Noa Jamir!

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To start, what is your relationship with Mumford & Sons’ music?

Mitch Mosk: Oh, where to begin… I was sixteen going on seventeen when Sigh No More dropped in 2009, and I suppose you’d call it one of my own seminal, personal “coming-of-age” albums. I honed my rhythm guitar skills playing “White Blank Page” in my friend’s living room, singing harmonic thirds to his lead vocal and putting all the emotion my angsty teenaged self could muster into those chords. I learned to work the fretboard by playing the intro to “The Cave” repeatedly, until I could hit every note alongside the studio recording. Somewhere in an old bin there lies a little voice recorder with scratchy demos of me singing songs like “I Gave You All,” “Sigh No More,” and “Winter Winds” – all because Mumford & Sons were one of my absolute favorite bands, and they still are to this day.

Songs off Babel and Wilder Mind hold near and dear places in my heart – to this day I can’t walk through Tompkins Square Park without humming the song to myself – but if I’m being honest, and I am, it’s that first Mumford album that always meant the most to me. The record itself is one of intense, unfiltered soul-searching, and it arrived at a time when I, too, was searching for purpose and trying to find myself – a high school senior on the precipice of college and a brave new world ahead. The band’s harmonies hit me hard – I’ve been a sucker for rich harmonic work ever since! – as did their heavy folk-leaning instrumentation; together with acts like The Head and the Heart and Of Monsters and Men, Mumford & Sons were my first foray into the wild world folk rock and all that it has to offer.

Aileen Goos: I wouldn’t call myself a Mumfordian, but I’ll always check out their new music or catch a show when they’re playing nearby.

Noa Jamir: Mumford & Sons came into my life at a religious retreat about 6 or 7 years ago. I attended a Catholic high school, and every so often we’d have these events called “Kairos” where students and religious leaders would spend time in nature and commune with God for a number of days. There was mostly Christian music played on this retreat, and one of the songs I distinctly remember hearing was “There Will Be Time” by Mumford & Sons. It’s a popular song of theirs that openly explores faith and spirituality. The chorus sings: “In the cold light I live to love and adore you / it’s all that I am / it’s all that I have”. Every time this song came on at the retreat, my peers would shout these lyrics and hold on to each other as if they were being overtaken by the Spirit of God. That song brought everyone closer together, boys and girls alike. It was a very powerful experience, even for non-Catholic students like me. I think because of this memory associated with the song, I’ve always thought of Mumford & Sons as a wholesome Christian-esque band and have assumed that was the kind of music they made.

Lauren Turner: I have been a fan of Mumford & Sons’ music since Sigh No More. To this day, that album is one of my favorites. Although the big hits off that album include “The Cave” and “Little Lion Man,” I fell in love with “White Blank Page.” I remember really digging the pub-like feeling they brought to their music but also really admiring how raw and real they were within their storytelling. Marcus Mumford’s voice is also just so unique and one that really draws you in. But I have been a die hard fan for a hot minute and have even been to a couple of shows.

What are your initial impressions and reactions to RUSHMERE?

Aileen: RUSHMERE is classic Mumford & Sons for me: Simple but meaningful in every way.

Mitch: Oh, it’s absolutely a homecoming – “classic” Mumford in every sense! The heartfelt, spirited folk rock sound, the intimate, intense reflections on what it means to be human, to feel things deeply and not always know how to process those emotions as quickly as they come… it’s all there, ripe for the picking, ready to uplift, inspire, and energize listeners. RUSHMERE does feel like a band, fifteen-plus years into their career, though; it’s wistful and nostalgic, polished and refined in ways that Sigh No More never could be, because it was a beginning – and while this album, too, is a beginning, it’s also a destination – as Marcus Mumford sings in the album’s opener, “Walking through the valley was what brought me here.”

Noa: I came into the listening experience of RUSHMERE open to receive an uplifting, spiritual message, and I would say that is precisely what this album offers. Right from the jump, the opening song “Malibu” took me back to that high school retreat, standing shoulder-to-shoulder with my peers in the middle of nowhere and surrounded by the beauty of nature. I agree with Aileen that the songs on this record are simple but meaningful. There’s an energy about RUSHMERE that is lighthearted and free, yet still so profound.

Lauren: I agree with Aileen that RUSHMERE is a classic Mumford & Sons album, where simplicity hits in a meaningful way – something they have always been pros at doing. However, I do believe they added in some new yet fun elements to the traditional Mumford & Sons sound we know. I really liked it and I feel like it honored who they are while still experimenting and showing their fans some new ideas too.

How does this album compare to 2018’s Delta and the rest of the band’s discography – what are the most striking similarities or differences?

Aileen: People can change a lot in seven years, and the songs on this album reflect that. While one of the biggest differences is the departure of Winston Marshall, they’ve also switched up the overall sound. The electronic production of Delta has been replaced with a more intimate, emotional vibe on RUSHMERE. They return to common themes of love and spirituality, but with a more mature, almost nostalgic perspective this time around.

Mitch: I hear a full-fledged “return to roots” in RUSHMERE – a fact that I’m personally and wholeheartedly celebrating. After Marcus Mumford’s solo album (self-titled) released in 2022, I didn’t know what to expect when I heard the band was coming back around with new material; in all honesty, I worried his burgeoning, solo career meant they might be winding things down, so for starters and as a baseline, I’m just grateful to see them back in the saddle, doing what they do best!

I had a lot to say when title track “Rushmere” released in mid-January, and I feel like some of those words might fit here as well: What better way to honor your origin story, than by returning to the sounds that first inspired you? Casual listeners would be forgiven for mistaking “Rushmere” as some long-lost track off Sigh No More. There’s an instant kinship between the new song and now-‘classic’ hits like “Little Lion Man,” “The Cave,” and “I Will Wait.” Sixteen years on, the acoustic guitars are still jangling, the banjos are still twanging, and Marcus Mumford’s rustic voice still aches with an undeniably raw passion, angst, and yearning.

I’ll grant that songs like “Truth” and “Surrender” don’t fit the debut album’s mold, and it’s just as well – after all, this isn’t Mumford & Sons’ debut – so I think the best way to understand RUSHMERE is as an embrace of the band’s warm folk rock DNA, of their roots, together with their years of experience onstage and in studios. For those who haven’t had the pleasure of reading every press release the band put out, it’s also worth mentioning that the name “Rushmere” is itself an homage to their physical roots: It was around Rushmere Pond, on Wimbledon Common in southwest London, that Marcus Mumford, Ben Lovett, and Ted Dwane first hung out and decided to form a band. So while we all hear songs that feel and sound familiar in certain ways, for the band, there’s an extra level of intentionality to all of it. From their melodies and instrumental choices, to their lyrics and production, RUSHMERE is a sonic summary of Mumford & Sons’ journey to date. It’s something “old,” and something “new” all at once.

Noa: I don’t know enough about the full scope of their discography to speak on this confidently! But I totally agree with Aileen that the writing on this record feels mature; their music seems to be aging like wine, only getting more refined with time. There are some songs that could’ve easily run the risk of being too cliche, especially the songs openly talking about God and faith. But Mumford & Sons manage to make each lyric and sentiment feel new and inspired. I hear lots of folk influence on RUSHMERE as well – some of the songs feel like they could’ve been released in 2016 / 2017. There’s a comforting sense of nostalgia about them.

Lauren: That last sentence Noa said! There is a comforting sense of nostalgia about the songs on this album. Certain songs such as “Malibu” do give me an older Mumford & Sons vibe. But their openness and big heart energy in this record do remind me of Delta too.

Mumford & Sons teased RUSHMERE with “Rushmere,” “Malibu,” and “Caroline.” Are these singles faithful representations of the album?

Aileen: These three singles capture the spirit of this album: nostalgic, hopeful and emotional; all making their way to an overarching sense of change and acceptance throughout RUSHMERE.

Noa: I would say so! The album touches on themes of faith, heartbreak, and letting go. The singles “Rushmere,” “Malibu,” and “Caroline” explore all of those themes, and give great insight into the rest of the record’s sound and mood.

Lauren: I would say that these three tracks did represent the album. I think they each individually touch on major themes within the rest of the record.

Mitch: I think so too! They definitely don’t capture the full breadth of the record – quite literally, they constitute its first three songs, albeit in a different order. You couldn’t possibly have known about the electricity of “Truth” and the sheer softness of “Anchor” and “Where It Belongs” from the singles, but I think that’s what makes those so-called “deeper cuts” even more special – and more of a surprise! At the same time, the singles are incredibly true to the spirit of this record: In “Malibu,” we hear a quiet intensity that returns in tracks like “Monochrome” and “Anchor,” and in “Rushmere,” we feel a deep, visceral heat and raw, dynamic passion that roars again in “Surrender” and “Carry On.” These three absolutely capture the more energized and anthemic side of the band – they were a great hook, and they definitely carry its front half!

RUSHMERE has been billed as a homecoming for the band – quite literally to where they first met in Wimbledon. Does this capture the spirit of these songs, and where do you hear or feel it most?

Aileen: There’s definitely a welcome, familiar sound that’s reminiscent of their debut Sign No More. Listening to the title track, you can almost picture yourself hanging out with the guys at the Rushmere pub and feeling the breathless excitement of fresh starts and fearlessness; blanks pages and overflowing pints.

Mitch: I’m with you, Aileen – in this album, we hear some high highs, some low lows, and a lot of heartfelt reminiscing, intimate reflecting, and so on… From the earnest reverie of “Caroline” to the solemn, cathartic staying power of “Carry On,” RUSHMERE is a Mumford-specific musical jaunt down memory lane.

Which song(s) stand out for you on the album, and why?

Aileen: There’s something cathartic about “Carry On” that just feels like acknowledging all that’s missing or messed up, and making peace with it.

Mitch: I love an ending that looks forward – “Carry On” is definitely all that for me, too – but I still can’t get “Rushmere” out of my head! To me, it’s an instant standout in the Mumford & Sons catalog – and one of their all-time best, a folk rock fever dream that truly feels a fresh as it does timeless.

Noa: “Monochrome” stuck with me long after hearing it. I wanted to know the story and the inspiration behind it after listening to it, because it was so moving. It’s one of the more intimate moments on the record, which I think is what immediately drew me to it and gave me pause. The lyrics are also some of the most memorable and well-written, in my opinion!

Lauren: Still touching upon the idea of this reminding me of older Mumford & Sons, “Malibu,” “Truth” and “Monochrome” stick out the most to me. And I do think it’s because it gives me that sense of familiarity. While “Malibu” and “Monochrome” remind me of the Sigh No More era, “Truth” kind of gives me Babel era. Additionally, my favorite thing about this band is how they navigate slower songs with such hard hitting lyricism and depth. They create music that sits with you long after it is played. “Monochrome,” specifically, is one I keep coming back to. I keep wanting to listen to it and dissect it further and further. The line, “There is life in the ground beneath your feet,” hit me hard during the first listen and keeps circling in my brain.

Do you have any favorite lyrics so far? Which lines stand out?

Aileen: “The kind of love I am always chasing / Is the kind of love that won’t be chased / I had no fear at the bottom of my cup / But now it’s dry I’m afraid.” – “Monochrome”

“You want to pour me out / and drink me off of the floor / so you can say you’re a saviour.” – “Caroline”

Noa Jamir: “Hyacinth girl, you are peace / There is life in the ground beneath your feet / restoration / monochrome out of sight” – “Monochrome”

Lauren Turner: I love the quick one liners in this album! I think they truly make this album special. I wrote down a couple while listening…

“The stars can keep your secrets/ I don’t wanna owe them anything.” – from “Caroline”

“Come home late in the morning light/ Bloodshot dreams under streetlight spells.” – from “Rushmere”

“You cannot complain if you don’t throw a dice yourself/ Sit outside the lines blame everybody else.” – from “Truth”

“Cause there’s no evil in a child’s eyes.” – from “Carry On”

However, I think the line that sticks out to me the most is, “Time don’t let us down again/ What’s lost is gone and buried deep/ Take heart and let it be/ Don’t lie to yourself/ There’s madness and magic in the rain/ There’s beauty in the pain/ Don’t lie to yourself” from “Rushmere.”

Mitch: “Don’t you miss the breathlessness, the wildness in the eye?” – the opening lyric in “Rushmere” is so evocative, and it sets the perfect scene. That, and the song’s chorus:

Light me up, I’m wasted in the dark
Rushmere, restless hearts in the end
Get my head out of the ground
Time don’t let us down again

Where do you feel RUSHMERE sits in the pantheon of Mumford and Sons’ discography?

Aileen: Their debut Sigh No More launched the band fast and far, and I think it’s hard for anyone to top that kind of success. However, RUSHMERE is an interesting piece of their evolution; it picks up on their folk foots and the honesty of their earlier work, but with a depth handed over through time and experience.

Lauren Turner: I think RUSHMERE is the perfect comeback album that is tailored to the Mumford & Sons fans. I think the band did a great job of bringing in a bit of a new sound but still reminded fans on why they fell in love with them in the first place.

Mitch: It’s the comeback, it’s the affirmation, it’s the reaffirmation… It’s quintessential Mumford & Sons – a reminder of why the world first fell in love with them nearly two decades ago, and a testament to their enduring ability to capture our ears and our hearts

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RUSHMERE

an album by Mumford & Sons