Mumford & Sons have been defined by a mix of folk, country, and arena-sized rock expressions of the two for well over a decade now. So pioneering and ubiquitous were they of the ‘stop-clap-hey!’ zeitgeist that producing more of the same – albeit talented and well crafted songwriting – is a bit too out of place in 2026. It’s a consistent album, but it rarely surprises.
Opening track ‘Here’, featuring Chris Stapleton, leans into country influences more openly than the band have in the past. The shared roots between British folk and American country make the collaboration feel natural. Its lyrics focus on regret and accountability, with a repeated list of pride, shame, and past mistakes. The country music set menu. It’s solid and well performed, but not especially distinctive.
‘Rubber Band Man’, with Hozier, brings back a more familiar Mumford sound. The song builds toward a loud, communal chorus, with Hozier fitting in comfortably into the arrangement just like Stapleton. It works, but the structure is so noticeably Mumford & Sons that it feels like reheated deja vu.
‘The Banjo Song’ and ‘Run Together’ continue that pattern. The banjo-led crescendos and emotional declarations feel, again, recognisable, but far from innovative. Ironically, it’ll probably be Mumford & Sons’ veteran fans who get to enjoy this record more than the newcomers who’ll notice the repetitive pacing.
The album’s strongest material comes in its quieter moments. ‘Conversations With My Son (Gangsters & Angels)’ stands out for its reflective tone and focus on faith. ‘Alleycat’ is similarly effective, built around nice and gentle guitar picking and a restrained vocal thread that gives the lyrics room to land.
By contrast, ‘Begin Again’ and ‘Stay’ opt for the large-scale emotional release but rely heavily on volume and repetition, kind of like a shouty Phil Collins.
Then there’s the guest features. They’re uneven. Gracie Abrams adds a cool and clear contrast on ‘Badlands’ to Marcus Mumford, but Gigi Perez’s presence on ‘Icarus’ is hardly distinct at all.
This album isn’t a major departure into new territory, and that can feel frustrating at times. It plays it too safe, reinforcing Mumford & Sons’ strengths but doing little to expand them.
Photo credit: Connor Cunningham
