Every last detail about the show is considered and mulled over, and that comes through in the final performance. Wes and Jer’s vision has always been crystal clear when it comes to the live presentation. That has been the key to the band’s touring development. These guys have worked their asses off for 10+ years to get to this point and did it the most difficult way possible.Īnd while you mentioned that it is all about the music, and that is true, it is only a half-truth. I think the disconnect has been due to the fact that artist development isn’t flashy. This year in particular the band has risen to another level and I’ve made a point to cover a lot of shows and get industry folks out to see it in person, and the comments are always the same… I wish I could say you have just been out of the loop, but you captured the exact reaction I’ve been hearing about the band for over a decade.
I am glad you caught the article and took the time to shine some light on the recent successes of The Lumineers.
Kudos to any incredible team and a once in a generation band. Ten years and four albums later, they still are and we couldn’t be prouder. In 2012 in one of your newsletters you made mention of the band with the context “They’re on Dualtone!!”. It also materializes into a captivating show that can move tickets because the set is not driven by any one song. That authenticity translates, fans feel it and own it. In our age of disposable content they are consistently producing art that will live far beyond any one moment.
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This time, though, bassist Byron Isaac provides a firm, low-end on the apocalyptic opener "Sleep on the Floor," a ghostly tune about getting out of town before the "subways flood the bridges break." It's a densely packed, cinematic song that echoes Bruce Springsteen's "Atlantic City" and John Steinbeck's 'East of Eden' - which were models for the record alongside Bob Dylan, Leonard Cohen and Jack Nicholson in 'One Flew Over the Cuckoo's Nest.What has been core for Wesley and Jeremiah from the beginning is that they are true songwriters driven by creating full ALBUMS. Their skill at setting a visual story to music comes through amidst the delicate, deceptively simple acoustic soundscapes.
The Lumineers then set about trying to make musical sense of their three-year-plus roller coaster ride. With the help of producer Simone Felice (The Felice Brothers, The Avett Brothers), the man Wesley calls "our shaman," the band ensconced themselves in Clubhouse, a recording studio high atop a hill in rural Rhinebeck, N.Y., not far from Woodstock. 'Cleopatra' proves Schultz and Fraites - along with cellist/vocalist Neyla Pekarek - are neither taking their good fortune for granted, nor sitting back on their laurels. During that time, The Lumineers - whose original members Wesley Schultz and Jeremiah Fraites founded the band in Ramsey, New Jersey back in 2002 - earned a pair of Grammy nominations (Best New Artist, Best Americana Album), contributed two songs to 'The Hunger Games' franchise (including the hit Jennifer Lawrence/James Newton Howard collaboration, "The Hanging Tree") and sold an impressive 1.7 million albums in the U.S., and 3 million worldwide. After exploding onto the scene with their monster single, "Ho Hey" (which spent a staggering 62 weeks on the Billboard Hot 100, peaking at #3) and its follow-up, "Stubborn Love" (recently featured on President Barack Obama's Spotify playlist), The Lumineers spent a solid three years touring six of the seven continents. It took four years for The Lumineers to follow up their platinum-plus, multi-Grammy-nominated, self-titled debut - which spent 46 weeks on the Billboard 200 and peaked at #2 - but 'Cleopatra' is well worth the wait. Amazon Presale April 1pm EST/10am PST ( requires password)ĭan Smalls Presents Presale April 10am EST( requires password)
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