Since the 2012 release of its hit song “Ho Hey,” The Lumineers, has found great success through its signature folk-infused style characterized by raw storytelling and heartfelt lyrics. The Colorado-based band, co-founded by Wesley Schultz and Jeremiah Fraites in 2005, presents an undeniably new sound in its fifth album “Automatic,” encouraging listeners to embrace this new style and reflect on the relationships that made The Lumineers what it is.
Previously released as a single, “Same Old Song,” is a strong start to the record, setting the tone with melancholic lyrics, layered instrumentals and a nostalgic, yet fresh, sound that reflects the band’s musical evolution. When asked about the importance of “Same Old Song,” Schultz told The Colorado Sound, “no matter what the circumstances are, it seems I always come back to some of these albums, and often they’re sad songs.”
“They make me feel less alone and less sad, even though they are very lonely and sad.” Schultz said. “We still seek out these same songs that we’re singing to each other, there’s something comforting about that.”
“Automatic” contemplates the themes of boredom and overstimulation, highlighting the way society has become robotic and unfeeling. This is primarily reflected in their lyricism in songs like “Better Day,” where Schultz sings, “Say somethin’, I’m sorry, please / Can’t we scroll back and delete?” / “You’re All I Got:” “Feelin’ bored and runnin’ from the shame / Livin’ for the love of yesterday / Lawyer fees, stretch limousines / Pull the cord and flush it down the drain.” Several other songs grapple with topics of romance, technology and modern society. This choice grounds the band’s work, contrasting the typically more ethereal, sublime characteristic of its songs.
The Lumineers is well-versed in acoustic compositions, with Fraites also releasing solo instrumental pieces. Its previous album, “BRIGHTSIDE,” was followed up four months after its original release with acoustic renditions of the record’s first three songs. “Automatic,” however, features two acoustic pieces off the bat. “Sunflowers” is a piano interlude that builds its power through a two-note progression, whereas “Strings” is a piece that uses a variety of orchestral instruments. The two are arguably some of the strongest songs on the album, and both have the ability to evoke strong emotions without the incorporation of any lyrics.
“We made this album without much editing or rehearsing of the songs,” Schultz said in his interview wth The Colorado Sound. “There’s a lot more fire in this one, it’s a candid photo of us.”
“Automatic” marks 20 years of Schultz and Fraites making music together. While its lyrics may not explicitly convey it, the album seems to pay homage to the signature sound that has defined the band’s success, catching listeners in the space between nostalgia and evolution. On one hand, “Automatic” echoes the powerful storytelling that first gave The Lumineers its audience. But its new, grittier sound challenges long-time fans to embrace something new. This balancing act between familiarity and reinvention makes the listening experience both comforting and also unexpected, prompting fans to reflect not just on the band’s journey, but on their own relationship with the music that has accompanied them over the years.
While it dives into new territory, the record never fully abandons the roots that made The Lumineers what it is. It is both a departure and a return, and captures the tension between past and present, between what we cling to and what we outgrow. There is a rawness in its unfiltered honesty. More than anything, “Automatic” is a testament to the enduring power of music — not just as something we listen to, but as something that listens back.
Contact Sadie Pease at [email protected].