![]() ![]() Rolling Stone described it best as “a biting but cathartic howler about overcoming all obstacles – even death,” and the song became the band’s sixth #1 at rock radio. Upon writing “Back From The Dead,” the floodgates opened. Throughout 2021, the band wrote and recorded in Nashville and Los Angeles, working with longtime collaborators Scott Stevens of The Exies and producer Nick Raskulinecz. The title track not only set the tone for the creative process, but it also served as a mission statement and a call-to-arms. It’s how I carved myself out of a dark spot. “I personally needed the music to save me. ![]() “When you listen to this record, I want you to know you’re not alone and you can survive anything no matter what,” Lzzy exclaims. Ultimately, they’ve delivered an uncompromising and undeniable body of work that’s Halestorm through and through. On their fifth full-length album Back From The Dead, the Pennsylvania-bred and Nashville-based GRAMMY® Award-winning RIAA Platinum quartet-Lzzy Hale (vocals, guitar), Arejay Hale (drums), Joe Hottinger (guitar), and Josh Smith (bass)-turn up the volume across the board. Rather than shrink in the face of uncertainty and darkness, Halestorm consistently rise up rougher, stronger, and louder. It ushers us through the most uncertain moments and enables us to shout down anything life throws at us with a wide smirk and a middle finger raised. We turn to rock ‘n’ roll for affirmation, empowerment, and survival. ![]() Men now, with responsibilities far removed from the day job, but men who feel at their most comfortable with who they’d become. Helmed by producer Paul Epworth, it’s a record finding Mumford & Sons at their most adventurous. In 2018, Mumford & Sons released their substantial fourth album, Delta. Gentlemen of the Road their own community-minded, self-curated festivals. Britain’s most likely to became Britain’s already have.īreathe in, let’s go: Number 1 albums around the world. But if we told you that just a couple of very short years later Mumford & Sons were to return to Glastonbury to headline its prestigious Pyramid Stage? Well, that should say it all. To summarise the next decade in a few short sentences is to do the band a huge disservice to what is broadly considered a global phenomenon. It was a show that typically laid down another stone from which to step a heaving John Peel tent, steam teeming from those vinyl walls and from the stage, and from the crowd. When Marcus Mumford once spoke of putting college studies on the back burner to focus on ‘being a band’ whilst tearing up a staircase at the band’s old rehearsal rooms by London Bridge, it was a day or two ahead of the band’s first Glastonbury performance. Leaving their hearts up on those stages, and having won the hearts of all those in the crowd, the growing fervour around Mumford & Sons became inescapable. Stood in formation across the front of the stage, like a solid back four that nobody’s finding gaps in, they clasped those instruments like their lives depended on it. ![]() You can’t get everything right.īut there was plenty they did get right. They called their band Mumford & Sons, and have jokingly regretted it ever since. It was a happy accident, with nothing unusual about how they formed shared musical interests, an interest to both make and perform music whatever the occasion, and this comparatively unique passion for community and collaboration. Some fourteen years ago, a few young men from London formed a band. ![]()
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