The revival of stomp and holler music has been in motion since the late 2000s, yet only so many bands find themselves a staple within the genre. Released on Feb. 14, The Lumineers’ latest studio album, “Automatic” is a diary of the band’s history and future, signifying 20 years of songwriting between Wesley Schultz and Jeremiah Fraites.
Interpolating instrumental melodies from their own catalog, “Automatic” encapsulates the active efforts of reflection, guiding the future through an analysis of the past.
The first single, “Same Old Song,” was released ahead of the record. The single opens the album and solidifies both the sonic and lyrical direction of the album. In typical folk-form, The Lumineers flood this song with metaphors of double meanings, accompanied by stomps and an acoustic guitar. Exploring the double-edged sword of depression and inner struggles, the second verse opens with Schultz singing, “In La Brea where the tar pit’s black / Like a starving mouth for the innocent.” In an honest description of the famous natural tar pits in California, Schultz personifies those trapped in tar with the complex emotions of the human mind.
The chorus plays into the band’s celebration of two decades together, while following the narrative structure of the lyrics it follows. Accompanied by piano trills and a rhythm guitar, Schultz sings, “Same old song / We sing the same old song / We sing the same old, same sad song.”
Released before the album, “You’re All I Got,” serves as the heart of this record identifying the message conveyed by Schultz and Fraites. The opening verse reflects this, saying, “All the years, we walked it hand in hand / Siamese, it’s hard to breathe in / Twenty years and no one gives a damn.”
The reflective nature of this track explores distinct moments from the writers’ past, those shared and traveled alone. The phrase “You’re all I got / You’re all that I got” follows various verses reiterating the bond between Schultz and Fraites.
The following track, “Plasticine,” revolves around two romantic partners’ ability to mold to what the other needs or wants. As Schultz lays out the metaphor, he follows it with the lyrics, “Self-assured with a team of writers feeding you the words.” Pleading for an honest transaction of emotional interest, the narrator identifies ulterior thoughts that lay in the brain of his significant other.
Lyrically following an overcrowded social gathering, Schultz repeats the refrain, “Welcome to this party.” Featuring snippets of the heart-felt confessional from the romantic comedy “When Harry Met Sally,” the orchestral interlude follows Harry’s monologue to Sally while The Lumineers provide an instrumental accompaniment. Harry mutters through his misunderstanding of the song’s lyrics, questioning why some people are forgotten, in which Sally replies saying, “Anyways, it’s about old friends.”
“Plasticine” follows this story in the pre-chorus, saying, “Mixin’ up all our friends and enemies / Wasting all of your precious energy.” The song transcends from one point of view to another with the arrangement of certain minor chords, driving the optimistic nature of the song.
Any fan of The Lumineers is familiar with their angelic instrumental interludes, and “Automatic” is no exception. The simple yet relaxing piano interlude titled “Sunflowers” is the penultimate track on the record and interpolates one of their previous instrumental tracks, “Patience.” Referencing the previous track from 2016, “Sunflowers” relays ideas of past, present and future through a broadening piano as the listener transitions to the final song.
“So Long” is the final track on “Automatic” and is a true testament to The Lumineers’ balance between heart and mind. Asking several rhetorical questions throughout the verses, Schultz sings, “And if you wanted something better / Why’d you never bother to find it?” The question aimed at the listener is easily mirrored by the narrator’s difficulty dealing with fame.
The track continues to escalate into each chorus as Schultz shouts, “Tell it on the mountain, ‘He’s arrived’ / Everybody’s famous for awhile.” The struggles of stardom are laced throughout this entire album and provide insight into the creative process of The Lumineers. Schultz and Fraites decide to alter these words in the final chorus ending with the phrase, “Maybe we’ll be famous when we die.”
On this album, The Lumineers balance the presence of love and loss through metaphors of life and death while exploring the unknown between them. Threading a string through their 20-year career, The Lumineers weave together a timeless sonic tapestry on “Automatic.”
