That may be the case. Compared to the breathy blues of John Mayer or the palm-fringed lullabies of Jack Johnson, it's a more gutsy and sincere form of folk-rock. Why might this be currently popular, I wonder. In the '80s there wasn't a lot of folk kicking around. The links with America continue. While the band's debut is taken from a line in Shakespeare's Much Ado About Nothing , Mumford, who was born in California, is actually more influenced by an American writer: John Steinbeck.
Other critics have been less complimentary, however, dismissing the band as merely "Coldplay with a banjo". As Hodgkinson says: "The good thing about getting big in America, as opposed to in Britain where we're quite fickle and more trend-based, is: if they love you, you're in there for a while.
That's why Alice Cooper is still rocking 40 years down the line. Skip to content Site Navigation The Atlantic. But Delta was also informed by his experience of disaster on a much vaster scale. Last year, Mumford witnessed the Grenfell Tower fire from his west London flat. I saw the tower burning — I was, like: fucking hell.
Councillors were taking off their badges and their hi-vis because people were so upset with their response. The local community genuinely did pull together, he says, which was perhaps the only bright spot in the aftermath of the fire. While recording the album, the band opened up the doors to their north London studio, welcoming musicians including the rapper Octavian and the pop singer Maggie Rogers along with about other visitors.
Lovett is unapologetic. He views the whole affair as simply an opportunity for more Mumford-bashing. Close the doors? That he was probably on camera because he was sitting next to his wife, pretty famous actress Carey Mulligan, only magnifies the punkness of the gesture. But this is the sort of music one must confess to liking: A band this old-timey stylized and coffeehouse-poet sincere, chasing a classic sort of grandeur by nearly eschewing electricity entirely, was bound to raise a ruckus.
This situation did not improve as the band—Mumford, Ben Lovett, Winston Marshall, and Ted Dwane, singers, songwriters, and multi-instrumentalists all—rose in prominence.
Babel , too, had modestly gigantic-sounding hits that worked great as throwback contrast on moribund modern-rock radio, but for many, the band had already settled into ye olde complacency. Wilder Mind , from , cranked up the electric guitars and keyboard washes and gauzy dim-neon Coldplay melodrama to diminishing returns and far less attention. It beats the hell out of Imagine Dragons, at least, but that used to be the least of it. All of this rustic grandeur—a lot of mandolins, a lot of Civil War—battlefield love-letter poesy, a lot of worn-in boots stomping a lot of creaky wooden floors—made for a lovely contrast with the brute-force EDM that had infiltrated both the pop charts and the music festival circuit by or so.
Delta is no radical departure. But Delta , tastefully but emphatically, does not.
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