Mumford & Sons Rushmere

For their first album in seven years, and first as a trio, the British folk-rockers Mumford & Sons went back to their roots. RUSHMERE, their fifth album, is named after the pub in southwest London where Marcus Mumford, Ted Dwane and Ben Lovett first got to know each other as friends and eventual creative collaborators. They were humble days, coming years before tracks like “Little Lion Man” helped define a strand of optimistic folk pop that dominated the early 2010s and influenced 2020s stadium-fillers like Noah Kahan and Zach Bryan. RUSHMERE pulls back from the pomp and splendour of folk-rock stardom and gets back to basics: furiously played guitars and rousing vocal harmonies, with Marcus Mumford’s sincere, resolute burr leading the way. Produced by Nashville straight-shooter Dave Cobb, who’s known for his unfussy, song-forward approach to the studio, RUSHMERE places the powerful songwriting and strong musical chemistry of Mumford & Sons front and centre. “Monochrome” is a hushed hymn to a long-gone muse, with Mumford rueful about time’s passage yet generous to someone who has faded to “monochrome out of sight”. The stirring “Surrender” is propelled by stomps and strummed strings, moving briskly forward even as Mumford sings of his world-weariness. “Blood on the Page”, a collaboration with next-generation folk-rocker Madison Cunningham, is delicate and ghostly in a way that amplifies the pain in its lyrics. “Time, don’t let us down again/’Cause I won’t wait,” the trio wails near the end of the title track, with ferocious banjos driving home the plea’s urgency. It’s a sly callback to “I Will Wait,” the 2012 song that cemented Mumford & Sons as leaders of the 2010s’ folk-rock vanguard. But it’s also a signal of the urgency and hope underpinning RUSHMERE, making it a taut, potent statement of reintroduction that doubles as a declaration of intent to stick around.