Wednesday 06/10/10 Mumford & Sons @ Academy, Bristol

Mumford and Sons’ graced the stage at Bristol’s Academy and brought with them the protégés of London’s neo-folk scene with opening band Matthew and the Atlas showcasing their understated musical bluegrass-beauty, handsome folk troubadour Johnny Flynn strumming his way into the hearts of the crowd and Mumford and Sons kicking off a poppy banjo-wielding anthem-fest. 

Opening band Matthew and The Atlas played to a good amount of punters early on in the night showcasing their tight and tuneful blend of Americana and romantic folk. Frontman Matthew Hegarty might be an unassuming fella at first glance but once he opens his mouth his exquisite voice makes jaws drop immediately. The songs are perfectly arranged, the lyrics beautifully written and if there is any justice in the world, Matthew and The Atlas more than deserve to be headlining this very same venue next year. 

Johnny Flynn is on next and performs a stunning set with songs mainly from his first album ‘A Larum’. On a slightly crowded stage due to a massive band backing of five musicians, Johnny still holds the attention of the entire audience. His crystal clear voice and masterful guitar skills cut through the auditorium like a campfire on a crisp night. Humble in attitude, but not in sound, Johnny performs single ‘Kentucky Pill’ from his latest album encouraging a dance-off in the crowd. Even though he gets cheered on like a bona-fide rock-star, he really is the opposite. A shy boy at heart, who really comes to life on stage, Johnny Flynn embodies everything that’s good about music: talent, creativity and passion.  

Mumford and Sons come onto the stage to euphorically deafening cheers from the ecstatic crowd. Taking their ethic from anti-folk’s outspoken style and fleshing it out for broader commercial appeal, frontman Marcus and his Sons know how to write a hit song. Initially known as backing band for Laura Marling, the band finally stepped out of the shadows with their debut 'Sigh No More'. And step out they did indeed, as proven by tonight’s deliriously adoring crowd.

Opener ‘Sigh No More’ is a mixture of an angsty ballad and a Pentecostal-style hymn that could well be on Bon Iver’s record. Starting off as a quiet and fragile acoustic paean to love it soon turns into a banjo-beast all romping and stomping with claps, multi-harmonious chanting and compelling strummed chords. Continuing to walk the thin line between shallow melodrama and genuine emotion, Marcus Mumford and his Sons launch into the first highlight of the night. ‘Little Lion Man’ shines brightly on the afore-mentioned debut and it moves numerous punters in the audience to shed a lil’ tear. Basically a well-structured folk-pop ballad, this song seems to combine the commercial appeal of mainstream popsters like Damien Rice with a more demure Laura Marling like edge. Mumford and Sons – The Kings of Leon of nouveau-folk? Quite possibly.

At their best, Mumford and Sons are mightily tuneful and celebratory, at their worst however, they remind of an overly commercial folk-pop band that you book for your daughter’s 12th birthday.

Mumford & Sons - live