Mumford & Sons + The Middle East @ The TLA

Category: Uncategorized

Posted on: May 21st by Emma

The Middle East

Opening for Mumford & Sons was the Australian group The Middle East, the group’s folky minstrel show was a excellent choice to start the evening. The Middle East consists of seven supremely talented musicians – six guys and one lovely girl more than able to hold her own- who play an astonishing assortment of instruments. I had initially seen them do a short set at SXSW that hadn’t lived up to my expectations after hearing their album. But all seven were crammed onto a small stage in freezing temps so I chalked it up to the less than ideal setting and was eager to hear them in much improved conditions at the TLA.

With a full stage to spread out on The Middle East was clearly more at ease. On his perch the drummer was able to go into a trance as he attacked through the material. The lone lady, on keys and flute, had plenty of space to smoothly switch around as needed. While the boys with their strings – banjo, guitar, bass and violin- had more than enough room to wander and jam. I mention the space factor because the group’s playing at this show was so effortless, allowing them to really invest in the ebb and flow their songs demand; a marked difference from SXSW when it looked like they were struggling to even hold their instruments.

Led in turns by the two main guitarists, they played a short set that highlighted both their slow building almost orchestral pieces like “Pig Food,” as well as, their more intense material like “Beleriand.” Being able to make a visual connection to the subtle arrangements that propel their work gave it a much more lush sound as you watched each member go about their part. I can’t remember ever seeing a glockenspiel played with as much nuance as I did when watching them play – in particularly on “Blood”- nor was I expecting the drummer to play in such a carefully riotous manner. Actually experiencing the construction of these songs brought a whole new life to their intensity. Unlike many groups of this size, who could easily cut their members in half if a few of them learned how to play a tambourine or floor tom, every member of The Middle East is vital to building their complex sound. Constantly rotating instruments and roles they all carry their weight in giving their music character; whether it was taking the lead on vocals or providing the airy flute line floating almost unnoticed through many of the songs everyone respects the others role. Seeing The Middle East live revealed new depth to their sound that I had previously not appreciated. Now even listening to their record I feel the presence of all seven members in the music. I look forward to discovering what happens when they begin to evolve their sound in their future recordings.

Mumford & Sons

I find it difficult to fully wrap words around the brilliance of Mumford & Sons live show. I don’t want to numb you with effuse praise nor do I want to downplay the impact their music has on a room. These four men work a magic on stage that is both visually mesmerizing to witness and sonically enveloping, taking you directly into the pure bliss of the resounding bass, the careful pluck of the banjo and the simple rhythm of the keys. Sunday’s show was Mumford & Sons at their best, a combination of old and new, folk and rock, tenderness and anger. It was a careful mix that left the audience totally stated.

Beginning with an epic –and I do not use that word with the casual flippancy of others – rendition of “Sigh No More” Mumford & Sons’ lush plaintive harmonies set the standard for the night. Lead singer Marcus Mumford’s voice- slight rasp in fine form- led the charge as the bass gave the song a pulse that gradually picked up as Country Winston’s banjo whisked away the heart of the piece to it’s frantic peak. It was the perfect way to start their long and varied set.

For a group that has been on the American radar for a relatively short period of time (mind you they’ve held precious realty in my heart since 2008) Mumford & Sons has managed to sell out their entire first head

lining tour of the US; a feat that they readily credit to their amazing fans. As I have previously (and repeatedly said) when an artist is genuine in their appreciation it is palpable in their performance. Sunday as I watched them play I found on numerous occasions this grin come across all four fella’s faces at one time or another, a grin that suggested they still cannot believe all those people had showed up just to see them play. Their bodies and souls go into every song, Ben Lovette hunches over the keys, his feet taking a wide stance to give him the best leverage on the machine and watching Ted Dwane dance and sway with his up right bass is a sight to behold. During the show they used very simple white back lights timed to emphasize their music and combined with physicality of their playing it made quite a visual impact.

The set list crossed familiar territory, “Little Lion Man” received full audience participation, “I Gave You All” carried all the anger and pain of the lyrics as Mumford’s voice pushed his voice to its rawest reaches as the banjo fluttered in the back. “Roll Away Your Stone” was Mumford & Sons in their element calm verses infused with the rowdy energy of their impassioned harmonized choruses. There was a broken string snafu in the intro of “Awake My Soul” that gave an unexpected pause for some casual stage banter but didn’t at all detract from the quality of the second attempt.

The group inject the set with some new songs, “Nothing Is Written,” “Lover Of The Night” and”Whispers In The Dark” all suggest their next release will be much more rock and roll. The later two both saw Mumford then Lovette taking their place at a drum set. The energy surrounding these new tracks had their typical bawdy rawness but with an electrified edge as even Dwane traded his upright for an electric bass. I’m terribly excited to see how the music evolves with more play time and after some time in the studio.

There wasn’t a moment during the show that I felt Mumford and Sons wasn’t putting their all into their playing. They played long and with an unfiltered passion that swept up the entire audience. By the time they came out for their encore, a fantastic version of “White Blank Page,” there wasn’t a person in that room who wasn’t under their spell. If this is just the beginnings of Mumford & Son’s streak to fame I see an increasingly bright future ahead for them.