mINtSOUTH.com

The experience of going to a Mumford and Sons gig is one that will generally lead you to feel that you got excellent value for money from their support acts as well. Pete Roe, Mumford’s roadie and fellow musician opened the night with his solo set. Roe’s music fits neatly into a tradition of romantic folk that is technically beautiful but not overpowering and avoids stepping on Mumford’s more upbeat toes. Pete Roe’s look matches his sound, looking dishevelled and bearded beneath a battered straw hat. As soon as you see him, there’s no mistaking that this is a folk gig. He’s become a regular and favourite sight at Mumford and Sons shows over the last year.

Shoreline followed Roe and was the least popular act of the night. With ten members, the stage was nearly as crowded as the rest of the venue. As each member came out and took up his or her instrument, it looked promising. Sadly Shoreline was unable to deliver on this despite their array of musicians. Their music was unquestionably on the esoteric side of progressive folk which much of the audience appeared to find prosaic at best.  The outdoor smoking area was uncommonly busy during a live set. The overall effect was of timid vocals drowned out by competing instruments which ultimately obscured the many conversations of the audience.

Mumford and Sons arrived onstage to a great reception from the crowd. The band themselves looked tired, hardly surprising after a good year which has seen them touring constantly and working non-stop. As such, their performances have become increasingly polished, tonight being no exception. They opened with the unaccompanied harmonies of 'Sigh No More', silencing an audience which moments before had been bubbling over with chatter.

The main set consisted of a selection of older songs such as 'Little Lion Man', 'White Blank Page' and some from their recently released album with which the audience was less familiar. Their sound borrows heavily from bluegrass but is located firmly within English folk. All their songs feature close harmonies at points and the keyboard regularly floats above the foot-stamping belly of the music. Many people would clearly have loved to have been able to dance but were packed too tightly for much more than clapping. The only ones who had enough space to dance were on the stage, whose most exciting moves came from Ben’s intense head banging above his keyboard and Winston’s various configurations of pelvic thrust. Although the jury is out as to whether the dancing adds value to the experience of seeing Mumford and Sons live, it’s certainly interesting.

Having lifted the mood with their established tracks, they levelled out again with the slower but equally passionate 'Thistles and Weeds', which again had the crowd listening intently. The last two songs enlivened the pace again and as the band walked off stage after Dustbowl Dance they looked exhausted and sweaty, but seemed to enjoy the calls for an encore.

Mumford and Sons’ music divides opinion: you either get it or you don’t and that tends to be instant. It’s not something that will grow on you if you haven’t loved it from the off but if you like it you won’t be disappointed with their live show. Those people that go to listen to live music to hear changes and improvisations may come away feeling short changed, Mumford only really play the songs as they are and innovate with new songs rather than new versions. Overall they are excellent value for money, rarely not on form and their obvious enjoyment of being onstage naturally spreads to the audience.

Mumford & Sons, Shoreline + Pete Roe @ Talking Heads, Southampton, 8th October 2009.