The Lumineers at Hoxton Hall
The term “intimate”, when it comes to gigs, is one bandied about a little too readily at times. In the case of The Lumineers one-night only at Hoxton Hall in aid of War Child, it was more than befitting. With the Colorado-hailing indie folk-rock outfit able to fill stadiums and more often found to be playing to thousand-strong crowds at festivals, it felt a privilege and honour to be packed into the space of the East London venue with not more than a few hundred fans to hear them play.
The cosiness of the setting also seemed to foster something special in the atmosphere: throughout the set, frontman Wesley Schultz, in a statement red suit with his long red locks twisted into plaits, spoke conspiratorially with the audience as though chatting with friends in his living room, giving us insight into their journey as a band and the stories behind each of their tracks, while cracking self-deprecating jokes about how a lack of early career success gave them space to fail. Periodic banter between himself and bandmate Jeremiah Fraites – sat alternately at the piano and drums, a tambourine always in reach, clad in his trademark white tee, braces and trilby – punctuated the evening, not least about making Fraites perform on his birthday. There was also philosophising about the role music can play as an anchor in choppy waters” “No matter what… there’s this magic thing called music to fall back on,” words that rung even more true when in the context of a world that often seems to be burning around us, a fact forgotten for a short time when enveloped in the soundscapes and musings of The Lumineers.
While they opened with 2012’s resplendent Flowers in Your Hair, injecting some wholesome sunshine into the depths of British winter, and quickly followed with 2016’s melancholic Cleopatra – “But I was late for this, late for that, late for the love of my life / And when I die alone, when I die alone, when I die I’ll be on time” – the evening predominately played out as something akin to a jam session or where a comedian road tests new material. “We didn’t bring you here for old stuff but new stuff”; many of the songs were fresh off the press, in anticipation of their forthcoming album Automatic, and we were the chosen few to hear them live in their nascent state: “You’re hearing the demos.” Same Old Song was a highlight, with its sprightly pace and insistent beat making you want to tap your feet before breaking into its soulful chorus, while Asshole cemented Schultz’s ability to take the piss out of himself, riffing on the idea many people think he’s an arsehole when they first meet him – among them his girlfriend.
Older tracks did get a look in, including the stunning Where We Are from their last album Brightside, which was written in the aftermath of a near-death experience in a car crash, and 2019’s surprisingly joyful sounding Gloria about Schultz’s late mother-in-law and addiction, dedicated to those who had also been touched by addiction, plus Angela and Ophelia. Further previews included Plasticine, title track Automatic, You’re All I Got, So Long and Keys on the Table. They closed with AM Radio and the classic Stubborn Love from their debut record, a vocal choir made of the audience as Schultz conducted a singalong, “Keep your head up, my love / Keep your head up, keep your love” reverberating through the venue as we were sent off into the night.
As a long-time fan, was there a quiet yearning to hear the beloved Ho Hey before all was done? Perhaps yes. But as a night of beautifully performed music, poignant lyricism and quality time spent in the company of talented, passionate musicians and commensurate music lovers, it was without fault.
Sarah Bradbury
Photo: Courtesy of The Lumineers
For further information and future events visit The Lumineers’s website here. For more information about War Child or to donate, visit here.
Watch the video for the single Same Old Song here:
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