MARCUS MUMFORD // SWG3, GLASGOW
MUMFORD & SON’S MARCUS MUMFORD FINALLY MAKES HIS ALONG AWAITED SOLO SCOTTISH APPEARANCE AT GLASGOW’S SWG3
★★★★☆ (4.5/5)
MARCUS MUMFORD AT GLASGOW’S SWG3
PHOTOCREDIT: KENDALL WILSON
Marcus Mumford's (self-titled) is one of this year's best albums. However you want to qualify it - by genre, by gender, by place of origin, by personnel - it's a stunning piece of work. The songwriting is imbued with vulnerability, integrity, joy and resolution; the performances reflect a deep respect for and cohesion with the songs, and the production is flawless. Of course, none of that guarantees a great live show, even for an experienced artist like Mumford. For a really brilliant gig, the stars have to align in just the right formation; the venue, the crowd, the setlist, support, the band, even the weather conditions play a role in conjuring those truly memorable occasions. Was Saturday night in Glasgow one of those nights? Probably. Yes.
Despite musically never expanding massively beyond their humble indie-folk beginnings, Mumford & Sons have been a big deal - worldwide - for over a decade now. The idea of Marcus Mumford playing a room as (relatively) intimate as SWG3's TV Studio is almost too much excitement for a lot of fans who have queued since the afternoon, somehow evading the periodic heavy showers. The venue is three-quarters full by the time Monica Martin steps on stage for her too-beautiful and too-brief support slot.
The former Phox singer has been honing her solo material for a number of years now, revealing that an album is finally imminent. Martin opens her set with the raw and melodic Cruel, accompanied on keys and stripped down percussion by Jake Sherman. The sparse arrangement allows her smoky and tender vocal to shimmer. She follows up with one of Sherman's songs, Maureen, which she remixed and featured on this year, apologising to anyone in the audience named Maureen. "It's not about you, I promise," she quips. The crowd participation on "sad disco" track Say is encouraging and Martin is obviously delighted by the audience's engagement which allows her to adlib some delicate and alluring vocals over the song's ending. The highlight of her set though is its closer, Go Easy, Kid. A song about showing self-compassion, recognising one's own flawed humanity, and not taking life's knocks too seriously, it's a perfect starting point for what's to follow. Delivered with such a classically constructed melody and starkly vivid lyrics, it swaddles like a decades-old number 1.
When Marcus Mumford appears on stage the applause is a mix of nervous anticipation, polite expectation and unbridled adoration. He almost delivers his own warm-up in the first two acoustic songs - both Mumford & Sons hits, Awake My Soul and The Cave - which lyrically and thematically foreshadow a lot of (self-titled). This seems to placate the audience's appetite for the old material while giving Mumford a chance to pace his introduction of the new project. It's been a while since Mumford & Sons have toured or recorded together, so the singer is quick to address the elephant in the room; once these solo shows are over he plans to get back to his day job with the band.
Accompanied now by a four-piece band, the body of the set follows the running order of (self-titled). It couldn't really be any other way. The album has a natural arc; a tension and discomfort which reveals at Cannibal and resolves at How. It's a progression and journey towards healing and liberation with some very dark stops along the way. However, far from being an ugly and painful sonic exploration, the darkness is cut with so much beauty and love and understanding and forgiveness.
The captivating beginning of Cannibal eventually crashes with so much explosive release that it causes punters at the bar to jump. The sound ricochets off SWG3's bunker-like walls and ceiling, hitting the audience with invigorating force. The room is alive! Grace immediately sees hands and pints swaying in the air as the intricacies of the full band set up are revealed. It's definitely a rock show, there's no doubt about that. "I can tell already this [show] is going to be one of my favourites," Mumford declares.
Better Off High is another big hit with fans that sees Mumford unleashing his distinctive vocals and exorcising some problematic self-perceptions. Who can really judge whether singing about addiction should feel this good? Dangerous Game swells majestically, accompanied by pulsing red light and concluding with a blistering guitar solo from Mason Stoops. Mumford appears to be having the time of his life with this band and crew. Highlighting the fact it's his guitar tech Ryan's birthday, he leads the crowd in a Happy Birthday singalong before recording a "fuck you" message to his former tech who left him to tour with Harry Styles. It's a most charmingly passive-aggressive bit of stage shenanigans that punctuates the last part of the main set.
Bringing Monica Martin out to sing her part on the stunning hymnal Go In Light is an obvious crescendo but, not content with this confection alone, the audience is then treated to the heavenly vocal talent of Madison Cunningham on Stonecatcher. Performing an entire album that clocks in under 40 minutes - even with expansive guitar solos and Billy Connolly references - doesn't make for a long show so following the arresting set closer How, Mumford leaves the stage for an ornamental encore effect and returns without even feigned demand.
The conclusion then consists of a Taylor Swift cover and two of Mumford's Bob Dylan/Taylor Goldsmith co-writes from The New Basement Tapes record Lost On The River, each far sultrier than Bob would've ever dreamed. The night finishes with Mumford alone and unplugged on the edge of the crowd singing I Will Wait, ironically after a much delayed start due an audience member having fainted deep within the crowd and requiring assistance. The whole experience has been harmonious and communally blissful, and this final act of trust and intimacy is a rare privilege which the audience dutifully respect and reciprocate. The room remains almost pin-drop silent until the crowd is invited to join in on the final chorus. Truly an unforgettable evening.
REVIEW + PHOTOS BY:
KENDALL WILSON
SETLIST:
SWG3, GLASGOW
AWAKE MY SOUL - (MUMFORD & SONS SONG)
THE CAVE - (MUMFORD & SONS SONG)
CANNIBAL
GRACE
PRIOR WARNING
BETTER OFF HIGH
ONLY CHILD
DANGEROUS GAME
BETTER ANGELS
GO IN LIGHT
STONECATCHER
HOW
ENCORE:
COWBOY LIKE ME - (TAYLOR SWIFT COVER)
WHEN I GET MY HANDS ON YOU - (THE NEW BASEMENT TAPES SONG)
KANSAS CITY - (THE NEW BASEMENT TAPES SONG)
I WILL WAIT - (MUMFORD & SONS SONG)