Throwing their hats into the ring after years of experimentation with sound, Mumford & Sons released their sixth studio album “Prizefighter” on Feb. 20, incorporating sharp and sentimental lyricism blended with beautifully-developed instrumentation. Throughout the album, Marcus Mumford is the main vocalist, with backing vocals from Ben Lovett and Ted Dwane.
The album’s emotional journey unfolds in “Here,” where the soft strumming of a guitar sets the introspective, warm, calm and melancholic mood for the rest of the work. The bands and featured artist Chris Stapleton’s voices intertwine in a strong yet yearning tone, as both men reminisce on their faults in search of forgiveness. They are metaphorically stripped back for the listener to judge, establishing a pattern of vulnerability present in every song that follows.
“Here” smoothly transitions into “Rubber Band Man,” a ballad featuring Hozier. The quiet guitar in “Rubber Band Man” creates emotional depth alongside the two artists’ harrowing, angelic vocals. Hozier and Marcus paint a picture of the struggle to grow beyond familiar patterns and constraints, singing lyrics such as “I know you by your heart, and I will call you by your name” like poetry.
Next, “The Banjo Song” contains more catchy lyrics than previous tracks, but the chorus quickly gets repetitive. However, louder moments keep the song interesting, making up for the repetition. Fleeting glimpses of openness appear when Marcus sings “I’m a mess myself, but I think I could be someone, if you need someone.”
“Run Together” shifts towards feelings of optimism towards the future, serving as a breath of fresh air from the heavier moments in “Prizefighter.” Marcus’s vocals maintain an immense quality throughout the song, never wavering or unsure. The song is reminiscent of their past tracks imbued with topics of enduring hope for love, the lyrics “I am yours, and yours, and ever” carrying notes of all-consuming romance.
In “Conversation with My Son (Gangsters and Angels)” Marcus returns to the heavy and sensitive themes that the album centres on. This song presents some of the more complex writing on the album, each line worthy of being dissected and studied rather than just melded with the others. The softer guitar rhythm is nothing short of stunning, and the lyrics provide a nuanced take on what legacy the speaker wants to leave behind.
“Alleycat” while less lyrically intricate than previous tracks, still carries one of the more introspective messages on the album. It reintroduces themes of restlessness and the frustration of feeling trapped, while boasting the crisp and soulful vocals that characterize “Prizefighter”. The question of, “Is this all there is? What do you mean? Is this not enough for you?” is either a question for listeners or for the singer himself, asking how expansive the world truly is and for an avenue to satisfaction.
While the title track “Prizefighter” is meant to be the emotional pinnacle of the album, it certainly does not meet those expectations. The instruments put listeners to sleep, and the track seems to confuse rambling with elevated songwriting. “Clover” falls into the same pattern, the track feeling lyrically uninteresting and falling behind those with more soul-wrenching lyrics or standout instruments on other songs.
One of the more interesting songs from the album in terms of concept is “Icarus.” “Icarus” cleverly ties the unfortunate fate of the overconfident mythological character to the singer’s own relentless chase for love that ultimately fails him.
“Badlands” is another collaboration on the album, this time with Gracie Abrams, that carries a magnetic pull. The track contains softer instruments that allow both Gracie’s and Marcus’s voices to shine through, weaving into one harmonious masterpiece. The imagery within the lyrics is powerful, painting a picture of an individual in a constant state of unrest who still seeks adventure.
Another incredibly well executed track on the album is “Stay.” The song serves as an uplifting movement in the midst of heavy dialogue and is one of the catchier songs on the album. The singer seems to directly ask listeners if they would embrace every facet of opportunity that the world offers them, reminding them that “The fire light, the cold stone, it’s waiting for you, the rosehips, the sunrise, the sea foam, it’s waiting for you” and begging the question “so will you stay?”
The most impressive song on the album is “I’ll Tell You Everything,” a track imbued with emotionally heavy and burdened vocals. If one song were to demonstrate the emotional vulnerability that Mumford & Sons were trying to achieve with their body of work, it would be this one, the pain laced in every line so tangible that listeners can feel it within themselves. The work feels emotionally authentic, Marcus sorrowfully admitting “By the end you’ll know me for everything/How far I bend before I break.”
The two remaining tracks on the album, “Shadow of a Man” and “Begin Again” are equally creative and masterfully composed, adding sentimental layers to the already immense emotional debt that burdens the album.
This album finds its biggest success not in large, powerful instrumental moments but in the lyrics in which Mumford & Sons lay themselves bare to listeners. They highlight a continuous stream of regret and doubt, while pushing themselves to see the light and continue forward. This is how emotional vulnerability is done right, not with large declarations, but with the meticulous inward observations of individual faults.
‘Prizefighter’ is undoubtedly Mumford & Sons strongest work in years, and is deserving of at least one thorough listen by anyone who has the time.
Standout tracks: “Badlands,” “Stay,” “Icarus,” “Shadow of a Man”, “Conversation with My Son (Gangsters and Angels),” “Run Together,” “Rubber Band Man,” “I’ll Tell You Everything.”
Not so stand out tracks: “Prizefighter,” “Clover.”
Rating: 4.5/5
