It’s been a beat since Mumford & Sons were everywhere. From their emergence in 2007 and breakthrough debut Sign No More in 2009 until 2018’s fourth LP Delta, it was hard to escape their jangly, not always radio-friendly (Little Lion Man I’m looking at you!) British Americana. Some seven years on, and following the departure of founding member and banjo-man Winston Marshall, the remaining trio of Marcus Mumford, Ben Lovett and Ted Dwayne are back with fifth studio LP Rushmere, currently vying for the UK’s #1 album. Returning to their folk roots while embracing new material, Mumford & Sons delivered a breathtaking and intimate performance at Kingston’s Pryzm tonight. The first of two shows, hosted in partnership with Banquet Records, saw the band strip things back, creating an atmosphere that felt both deeply personal and celebratory, airing the new record live while keeping their crowd happy with fan favourites.
Mumford & Sons @ Pryzm
Kicking off with Rushmere, the title track from their latest album, the band immediately set the tone with warm harmonies and a rich instrumental swell. The song’s gentle build captivated the audience, drawing them into the new era of Mumford & Sons while still carrying the heart and soul of their earlier work. “How ya doing, Kingston” Mumford sneers. “I got in a lotta trouble about … there … when I was 16 years old” he smiles cheekily pointing at the middle of the Pryzm floor, referring back to when the venue was known as infamous local nightclub called Oceana. “Anyway, we came here tonight to have a good time and to redeem ourselves, and we’re glad you’re here too”.
Of course, it wouldn’t be a Mumford & Sons show without their beloved anthems, and the crowd erupted as debut single Little Lion Man rang through the venue, banjos rattling, Dwayne’s storming bass lines accompanied by Mumford’s kick drum and the Pryzm chorus, of course, eagerly shouting along to every lyric.
“It took us long enough, but we’ve got a new record out” the frontman offers before digressing: “We’ve been playing shows all over the shop. We were in Sydney for 48 hours, all over Europe, well Western Europe I suppose” he corrects. “We’ve basically just been fuckin’ around, and we’re still fuckin’ around. We’ll be fuckin’ around forever I think” he smirks before Awake My Soul brings a more introspective moment to tonight’s blink-and-you’ll-miss-it set, its delicate instrumentation and haunting harmonies rounded out by Dwayne and Lovett filling the room with a quiet intensity.
A special highlight of the set is Where It Belongs, a new song from Rushmere. Its heartfelt lyrics and lush instrumentation feel like a natural continuation of the band’s storytelling tradition. Alongside this, Surrender offered a more anthemic moment, showcasing the band’s ability to craft soaring choruses that resonate deeply with fans. Lovett extends his heartfelt thanks to the fans that have supported the band over the years, truly grateful to see the Agora community come back out for the band after such an extensive break from both new music and touring.
The performance reached another peak with I Will Wait, arguably the band’s most iconic song. The energy in the venue was electric, as the entire crowd joined in, clapping and stomping along in unison. The power of the track, even in a relatively small setting like Pryzm, was undeniable—its crescendoing instrumentation, pounding kick drum, and impassioned vocals transforming the space into something euphoric.
Mumford & Sons @ Pryzm
For the encore, the trio and their accompanying musicians opted for something truly special. “This might be an occasion to shatter the illusion or dissipate the denial of an encore. We’ll just play you a couple more. Shall we pretend like we’ve fucked off, had a fag, and we’ve thought about it and decided ‘oh, go on then'” Mumford jests. Stepping away from the microphones, they perform debut LP cut Timshel followed by Rushmere cut Caroline completely unamplified, with the trio performing from the edge of the tiny Pryzm stage. This stripped-down, acoustic approach brought a hush over the audience, with only the pure resonance of their voices and instruments filling the space. It was a stunning, goosebump-inducing moment—one that reminded everyone in the room of the power of live music at its most raw and vulnerable.
Throughout the set, the chemistry between the band members was evident. Ben Lovett’s keys added rich textures, while Ted Dwane’s electric and double bass-switching subtly anchored the performance. Marcus Mumford, as always, carried the show with his soul-stirring vocal delivery, effortless charm and dry wit.
With this performance, Mumford & Sons proved once again why they remain one of the most compelling live acts of their generation. Balancing old favourites with new material that seamlessly fit, they created a show that felt both nostalgic and fresh. In the intimate setting of Pryzm, they reminded fans of the magic that first drew so many to their music—heartfelt storytelling, soaring melodies, and an undeniable sense of connection. While it might have been a whirlwind ride of just 45 minutes, tonight’s was a truly unforgettable performance for those lucky few who managed to get in.
Live review and photography of Mumford & Sons at Pryzm, Kingston on 3rd April 2025 by Kalpesh Patel.
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