Music Review: Mumford & Sons
Marcus Mumford of Mumford & Sons. Picture: Michael Loccisano/Getty Images.

Mumford & Sons

Friday, October 12

Belvoir Amphitheatre

Edward Sharpe and the Magnetic Zeros, who played main support Friday night, may have stolen the show, but because this is a Mumford & Sons review, we'll leave that there.

And, second, don't pay $90 to come and watch a bill of powerfully intimate acts and gasbag at the top of your heinously offensive voice, annoying anyone within 15m. You know who you are.

Now, to Britain's folk champions, Mumford & Sons - opening with the frail and exposed introduction of Lover's Eyes, the foursome plied their trademark sound from note one, satiating the 4000-odd souls gathered before them.

By the crescendo of the set opener, Marcus Mumford was working the powerful new vocal tonalities found on the band's latest release, Babel. His foray into a more aggressive delivery is serving to heighten the band's material and offer some sorely needed variation to the band's palette.

Crowd favourite Little Lion Man was out of the gates early, a smart move made clear by Mumford's instruction to the audience; "You're allowed to stand up," he cried. Within a second, the masses had risen to the occasion and things were truly under way.

Flanked by their touring ensemble, supplying the brass and strings that feature heavily on Babel, Mumford & Sons belted through tracks like Holland Road (tonight being the first live performance of the track), Roll Away Your Stone and the band's recent single, I Will Wait.

Things lifted considerably when Mumford moved from his acoustic guitar to a drum kit that had been waiting behind him patiently all night. Showing his considerable musicality, Mumford led the band through the epic Lover Of The Light with bombastic aplomb.

After an ethereal introduction to Thistle & Weeds, the musical chairs theme continued as bassist Ted Dwane had a crack on the skins, showing that anything his frontman could do, he could almost do. Dwane's percussive drive didn't push the band with the same conviction as Mumford's, but his efforts were more than accomplished.

Whispers In The Dark and well- loved single The Cave made late appearances before proceedings were rounded out and the throng was sent packing.

On a warm Perth night, in such a stunning venue, fans of real, spiritual music could not have asked for much more.

Things lifted considerably when Mumford moved from his acoustic guitar to a drum kit that had been waiting behind him.

The West Australian

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