Mumford and Sons – Tickets – GMU Patriot Center – Fairfax, VA – February 13th, 2013

Mumford and Sons

Mumford and Sons

Ben Howard, HAIM

Wed 2/13/13

6:30 pm


Sold Out

Mumford and Sons - (Set time: 9:45 PM)
Mumford and Sons
“We wanted to do something unashamed,” says Ben Lovett. “We’re confident and happy to be where we are as a band — everything that’s happened with us has exceeded expectations, and it’s all been a surprise, it’s all much bigger than what we were prepared for. So when we came to recording this record we had a choice: to shy away from that, or to realise that people dig what we’re doing, and make something robust, with that energy.”

It was December 2010, and Mumford and Sons had been on the road since the previous summer: a glorious, eventful, yet relentless time. Standing somewhere between exhilarated and exhausted, the plan now was for the band’s four members to spend a few weeks apart, write, recuperate, and then reconvene in Nashville in the New Year, with the intention of trying out material for their second album.

The informality of the set-up in Tennessee perhaps helped to dispel any nerves they may have had about following up 2009’s Sigh No More — an album that had gone four times platinum in the UK, and twice platinum in the US. The band assembled in the front room of a house and set about sharing the songs they had been working on alone. “It was a coming together, a sharing of some stuff,” explains Lovett (keys, accordion, drums), “a pool of ideas that would come out of our time apart. So if there was nervousness, it wasn’t nervousness about the record, it was nervousness about how a couple of these new song ideas would go down. But we knew we were going to play music, and it wasn’t time to get into the nuts and bolts of it, it was more like we were starting another year from this point. And that felt very good. Very fresh, and natural.”

Out of that time in Nashville came a couple of songs for the new record — the gorgeous Lovers’ Eyes and Hopeless Wanderer. Then followed more touring, performances at the Grammys and the Brits, before the chance came in the summer to head into a studio in Bermondsey, south London. Here the band recorded the title song for the soundtrack to Wuthering Heights, as well as finding the footings for several of the new album’s songs: Babel, I Will Wait, Not With Haste, Broken Crown, Lover of the Light.

“And then,” recalls Marcus Mumford (lead vocals, guitar, drums), “we went down to a farm in Somerset and played the 10 song game, which is where you have to write 10 songs each in a set period of time without any criteria for quality.” The result of the 10 song game, the band recall with some amusement, was firstly that Ted Dwane (string bass, drums, guitar) has a natural propensity for writing murder ballads, and secondly a new album track named Reminder.

“It’s such a nice exercise because it removes your focus on perfection,” says Dwane. “You drop your guard down and you sort of bash about.” For Mumford, it also helped to re-focus to the material already amassed. “There were various points in the album where we felt maybe we needed to inject more directness, and maybe that’s what Reminder did,” he says. “There’s a bit more obscurity in this album and Reminder is a really emotionally identifiable song. I think I Will Wait Was the Same. And in terms of making the best record we could we felt like we needed those songs.”

2011 took shape slowly — throughout that year they were establishing the album’s “cornerstone songs”, discussing the new material with producer Markus Dravs — who had also steered Sigh No More (“He’s like a mind master,” says Lovett) and engineer Robin Baynton (“He has the best ears,” says Mumford “but he’ll never sacrifice vibe for accuracy”) finding more writing and studio time wherever their schedule would allow. But more importantly they were trying to work out just what kind of record they were making. “I don’t think any of us had any idea then about what we were trying to do,” says Lovett, frankly. “We had a body of songs and we just really wanted to record them. And we thought that was all you needed. But we learned that wasn’t quite the case.”
Shortly before Christmas, they decided to stand back and take stock of what they had, heading down to Lovett’s parents’ home in Devon for a review of the new material. “And that’s really where we had the vision for the album,” says Mumford, “or where it solidified.” “We were suddenly really confident and happy with what we were making,” adds Dwane. “We were all on-site, all pistols firing. I think the album started to assert its own identity a little bit, it started to make sense, and we knew then what we were making.”

Babel’s identity Dwane describes as simply “Very us. When we made the first album it was to be a snapshot of Mumford & Sons in 2009. This is exactly the same — but it’s us now, and there’s a lot of the live energy in there — that was very much what we were trying to capture. Creating the album over the course of a year, going into the studio then back out touring, then back into the studio … it’s almost as if the road has rubbed off on the album.”

The influence of the phenomenal live band Mumford and Sons have become is much in evidence on Babel, from the fire and fury of the title track to the keen and tender yearning of the album’s closer, Not With Haste. “I think over the past few years we’ve realised how much we have to play the songs that we’ve recorded,” says Mumford. “So we thought harder about these songs, feeling confident that we could play them again and again and again, and that however you record a song gives it its own life.”
As a result, several songs on Babel were recorded live. “When you’re in a room with headphones and microphones and no one else, you play it quite differently to how you play it live,” says Mumford. “Having played live as much as we have these past five years, it’s probably made us a bit more high-octane, a bit more adrenaline-filled, but because of that we probably also need to counter it more. But we really wanted to allow permission for quiet songs on the album, so that we could allow permission for them live as well.”

More than anything, there is a real a sense of completeness to Babel, a satisfying wholeness and a kind of musical and lyrical wealth — romanticism tempered by strength and vigour; a brawniness balanced by beauty. “I think there’s more subject-matter on this album, and I think we’ve grown up a little bit,” says Mumford. “I feel like it’s more exposed, more naked. Ted always talked about wanting to make an album like a story,” he adds. “Not necessarily one that has a plot, but one that you can listen from top to bottom and it makes sense. I think that’s what we’ve tried to do, and what we’ve done.”
Ben Howard - (Set time: 8:40 PM)
Ben Howard
Every Kingdom, due stateside in April 2012, will be the first record released in the U.S. on the taste-making independent label Communion Records. The album was recorded in a converted barn in the English countryside, and has turned out darker in its lyrical content than Ben Howard imagined it would. The melodies come easy, but he worked hard on the words. "There's a lot of stuff about people and relationships, and about myself—I'm quite self-indulgent in that respect."

2011 was a breakthrough year for Howard. Highlights included signing a deal, getting amazing support from the media and releasing a beautiful debut album. The record reached the U.K. Top 10, and Howard found himself back out on the road in the van with his band and closest friends playing every other town in the U.K. and Europe. Every single show sold out, bar none; more tours were added, venues were constantly being upgraded, and yet 2011 was just another stepping stone, a continuation of what he's been doing for years, albeit on a much bigger, more frantic scale.

Life on the road with his band, childhood friend India Bourne on cello and Chris Bond on bass and drum, has created a close knit unit and given them all a heightened "awareness of sound." You can hear it in the gentle, note perfect harmonies and the fragility in which they are delivered. The band hushes rooms, scatters the audience with a sense of euphoria, and leaves them desperate for much more of the same. "I think people can hear that when the band and I play, we really mean it. I have always written songs that draw on my own emotions, and I don't want to try and hide any of it. I guess everyone relates to raw emotion," notes Howard.

A young acoustic troubadour, Howard will make you feel as though he is the first young acoustic troubadour you have ever heard. He brings freshness to the form, gives it luster, making it all seem brand new, even though his songs have a quality of wisdom and a rootsy authenticity as old as the hills. He is something of an acoustic guitar whiz, having mastered the art of strumming, plucking and hammering the instrument for rhythmic purpose.

Howard grew up in Devon, a county in the South West of England and surrounded himself with the richly textured music in his parent's record collection. "Van Morrison, John Martyn, Nick Drake, Richie Havens, Joni Mitchell, Simon and Garfunkel," he says. "That's what we'd listen to in the house and in the car wherever we were going." It was these records that encouraged him to pick up a guitar, re-stringing his mother's Spanish nylon acoustic at the age of eight.

Howard's organic success was initially marked by the core European surf scene, who had quickly taken him under their wing and were fiercely passionate about promoting him. Big name surf brands signed on to support the emerging artist, and just as Howard contemplated doing the whole thing alone, in came Island Records, U.K.

Long before the hustle and bustle of press teams and radio pluggers, marketing campaigns and BBC sessions, Howard was filling the van with mates and tapes and making himself a living on his own terms.

Every Kingdom was recorded in the family countryside barn of cellist India Bourne and is produced by drummer, Chris Bond. "Nobody knows the music like we do. Chris is brilliant at capturing a mood and an atmosphere so we kept close to what we know so well. I am really proud that we did," muses Howard.

Now that he's been introduced to a wider audience with the benefit of hefty rotation on the British national radio stations, Howard is in the enviable position of preparing to introduce himself to American and Australian audiences—countries he is incredibly excited to be visiting, let alone performing to. Communion Records will release Every Kingdom in the U.S. this April, and Ben will tour the country in support of it, from Austin to Boston.

"The thing is, I love to move," Howard says. "I love to travel. I get twitchy if I'm in the same place too long." Which is lucky really because Howard and the band aren't going to be sitting still for a while.
HAIM - (Set time: 8:00 PM)
Hailing from the San Fernando Valley, HAIM consists of, “Three sisters, and a mister” that has been shaking things up in the city of Los Angeles for the past four years. It is truly a family affair for the band which prides themselves on being able to switch from instrument to instrument with complete confidence and ease, and all while singing in three part harmony.

The sisters, Este, Danielle, and Alana, grew up playing classic rock songs with their parents in a family band, called “Rockinhaim,” which played for charity events and street fairs. After years of playing with their parents, the girls decided to strike out on their own, and began writing their own material. Este, the eldest of the three, plays bass guitar and found time in between touring to graduate from UCLA with a degree in Music. Danielle, the 22 year old lead guitar player, who previously toured with Jenny Lewis, Cee-lo Green, and Julian Casablancas. Alana, the youngest in the band, plays rhythm guitar, keyboard, and percussion. Rounding out the group is Dash Hutton, who previously played drums for LA bands Wires on Fire and Slang Chickens. Over the past few years, the band has opened up for Julian Casablancas, Cold War Kids, Ke$ha, Group Love, No Age, The Bird and the Bee, Edward Sharpe and the Magnetic Zeros, Chief and The Henry Clay People. In February 2012, HAIM released a three song EP titled Forever, which is also the title track on the record. It can be downloaded for free at
Venue Information:
GMU Patriot Center
4400 University Drive
Fairfax, VA, 22030-4422