Why do i hate mumford and sons

So when your hope's on fire But you know your desire Don't hold a glass over the flame Don't let your heart grow cold I will call you by name I will share your road. But hold me fast, hold me fast 'Cause I'm a hopeless wanderer And hold me fast, hold me fast 'Cause I'm a hopeless wanderer.

Did you guys see how Marcus rhymed fire and desire? Did you see how he doesn't want your heart to grow cold? Did you see how he will call you by name? Did you see that he will share your road? But hold on to him! He's a hopeless wanderer! So part of me wants to give the band credit for being self-aware enough to have a bunch of funny comedians illustrate that the band is in on the joke and understands that what they do might be considered obnoxious.

But then after I think about that for a minute, my brain realizes that is bullshit. I'm a kid who grew up loving folk music. I still will argue that Bob Dylan is the greatest songwriter of our time, and that Self-Portrait is his best record and incredibly underrated. I'll argue that folk music can tap into a side of humanity that we all must appreciate and engage with in order to learn about ourselves, about why we think the way we do, and about what that all means.

So are we really going to allow a band that has bastardized this genre and makes shitty music and makes a lot of money bastardizing the genre and making shitty music off the hook simply because they showed a little self-awareness? It beats the hell out of Imagine Dragons, at least, but that used to be the least of it. All of this rustic grandeur—a lot of mandolins, a lot of Civil War—battlefield love-letter poesy, a lot of worn-in boots stomping a lot of creaky wooden floors—made for a lovely contrast with the brute-force EDM that had infiltrated both the pop charts and the music festival circuit by or so.

Delta is no radical departure. But Delta , tastefully but emphatically, does not. Stick with this record long enough, though, and you are rewarded by the title track, which likewise takes its sweet time but eventually blossoms into a shout-along, Springsteen-disciple coda that gets just enough of a overproduced push to sound timeless and effortless. Plus David and Kaz open the show discussing the beef between Lince Dorado and the father of superfan Izzy.

While recording the album, the band opened up the doors to their north London studio, welcoming musicians including the rapper Octavian and the pop singer Maggie Rogers along with about other visitors. Lovett is unapologetic. He views the whole affair as simply an opportunity for more Mumford-bashing. Close the doors? We want as many people who want to come to a show to feel welcome.

Mulligan, he says, was cautious of being filmed throughout the event, unlike him. She was smarter than I was. Simply put, they polarize opinion. Adele never faced backlash of this magnitude. For Marcus Mumford and his folk-rock legion, there is no grudging nod of appreciation. They are loved, they are hated, and they are rarely understood.

Listening to Sigh No More and Babel there is certainly plenty of room for critique. They are gnawingly earnest — each track is emotionally intense in the extreme, without really saying much of anything. Listening to the band for an hour or more can feel like a boorish lecture on rustic worthiness.