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Mumford & Sons  

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The hugely popular, Platinum selling Mumford & Sons began life in 2007, before finding meteoric success with their indie-pop disguised as Americana.

Featuring Marcus Mumford (vocals, guitars, drums), Winston Marshall (vocals, banjo, dobro), Ben Lovett (vocals, keyboards) and Ted Dwae (vocals, bass), the band came together in 2007, soon becoming a recognized name in London's growing folk scene. Persitent performing and songwriting led to an appearance at 2008's Glastonbury Festival, gaining many new fans in the process. Shortly after, their self-titled debut EP was released, establishing their name in the indie rock scene.

Two more EPs followed, "Love Your Ground" (2008) and "Cave and the Open Sea" in 2009, attracting the interest of major label, Island Records, who were quick to sign the promising act to their roster. Working with Markus Dracs, producer of Arcade Fire and the Maccabees, Mumford & Sons started work on their debut album. Releasing the single "Little Lion Man," anticipation for their debut grew feverish, with the track being named 'Hottest Record in the World This Week' by BBC Radio 1 DJ, Zane Lowe. Mumford & Sons were then named part of BBC's 'Sound of 2009' poll, making them one of the most talked about acts in the UK at the time.

Their debut album, "Sigh No More," was released later that year, achieving commercial success. The following year, the album was issued in America, on Glassnote Records, finding further commercial success, selling a million copies. Yet it was with their second record, "Babel," that Mumford & Sons became international stars, with the album topping the Billboard Album Chart in the US in 2012, before then selling multi-Platinum. A live album, "Road to Red Rocks," recorded at Colorado's Red Rock amphitheater, was released shortly after that same year.

In 2013, Mumford & Sons were awarded with a Grammy Award for 'Best Album of the Year' with "Babel."Extensive touring followed, which saw the band headline many festivals across the globe, including Bonnaroo Music Festival and Glastonbury Festival. They then embarked on a hiatus, before returning to live performance in 2015, with the promise of a new album.

Live reviews

My Mumford travels for round 5 took me to Columbia, Maryland for their Amphitheater gig at the Merriweather Post Pavilion. The Mumford's were rocking a new sound and new style since last I had seen them. They abandoned their signature banjo for their third album, and decided to plug in for an electric based record. It's different for sure.

That album, entitled Wilder Mind, was well on display this night. Marcus Mumford and company performed 10 of the 12 songs from the May release. This included 5 of the first 7 songs on the evening, showing Mumford has very much bought into this new style.

It's a completely different look for the band. They have a touring drummer with them, on a separate kit from Marcus. At times all 4 of the original band members are just jamming on their electric guitars and basses. My personal favorites of the new material is slow rolling 'Monster' and album opener 'Tompkins Square Park.' I'll also give credit to a cool version of 'Just Smoke,' where the band received help from openers The Maccabees.

For me though, the best songs on the evening were the ones from the bands original albums. They obviously have a different feel to them, and the crowd is much more into those tunes. The biggest song a long of the night was by far 'Awake My Soul.' The loudest ovations of the night, I would say were for 'The Cave' and 'Little Lion Man,' both off the debut.

Lead singer Marcus Mumford did a good job of mixing in the older material with the new. 'Lover of the Light' and 'Dust Bowl Dance' both added some familiarity after a series of new tunes. Marcus is one of the most impressive frontmen in my opinion. Not only does he sing, but he's going back and forth with acoustic and electric guitar, while operating a kick drum. He even goes over to the set and plays a full drum kit on a few tunes.

One thing that surprised me was the attitude of former banjo player turned guitarist Winston Marshall. In my past Mumford show experiences, Winston has always been the lovable banjo player who's smiling, getting the crowd going, and making jokes on stage. I'm not sure if he was having a bad night, but he was oddly quiet. There was no interaction between himself and the audience on the evening.

The rest of the gang voiced their appreciation though and put on a great set. The encore was phenomenal. After three favorites, the Mumford's ripped through new single 'The Wolf' as the final song on the night. I believe this was the best tune. The rocking guitars and whaling chorus make it seem more like a punk song with a Mumford appeal. It was a great ending.

Another awesome show from Mumford, but nothing topping that Babel tour. I like the new album, but not as much as those original two. It'll be interesting to see what direction the guys go from here. But still a worthwhile show.

CONCERT RATING: 4 Stars

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La premessa è questa: sono un grandissimo appassionato dei Mumford al punto da conoscere tutti gli accordi delle loro canzoni (le 15 più belle) e mi sono letto il libro che ha ispirato gran parte dei primi 2 album, e sicuramente "Timshel", East of Eden di John Steinbeck (un capolavoro). Questo non per tirarmela (perchè non me ne frega niente) ma per cercare di rendere valida e affidabile questa recensione.

Lo scenario era quello dell'Arena di Verona, uno dei migliori. L'avevo già sperimentato in passato e l'idea di vedere i Mumford all'Arena con il loro stile rustico... bè, mi gasava parecchio.

Voto concerto: 6/7

Il problema principale è stato chiaro fin dai gruppi in apertura: erano mixati male.

O il fonico era ubriaco o le attrezzature del Service erano scarse.

Le casse "sfrittegavano" e con questo termine intendo il rumore che si sente quando vanno in picco con una determinata frequenza emettendo un suono distorto e fastidioso, quasi grattassero le casse.

I bassi erano sparati troppo in alto e le casse non reggevano.

Speravo che ci fosse un'equalizzazione diversa rispetto ai gruppi di apertura ma mi sbagliavo.

Per tutto il concerto il problema è persistito.

Oltre ai bassi anche la voce era troppo forte e in tutto questo mancavano dal background musicale il banjo e la chitarra di Marcus. Vi lascio immaginare le parti di sola voce e chitarra... erano un pò tristi.

Trombe e violino apparivano e sparivano.

In realtà per tutto il concerto si è sentito un evidente cambio di volumi per cercare di aggiustare il tiro.

Inutile dirvi che non ci sono riusciti.

Vi assicuro che una buona acustica cambia tutto.

Ma parliamo invece di cose serie: i Mumford!!

In realtà loro hanno suonato bene, hanno fatto la loro parte. Qualche classica cagatina con il pubblico e qualche piccolo effetto scenico.

Come i Coldplay, sono scomparsi e riapparsi in mezzo al pubblico per suonare qualche pezzo acustico. Di per sè non erano troppo originali nel coinvolgimento, ma ci poteva stare.

Altra grande pecca era l'assenza di maxischermi. Si vedeva bene il palco ma le loro facce non si distinguevano troppo, secondo me avrebbero dato il loro valido contributo nel coinvolgere emotivamente.

Stecca clamorosa di Marshall su "Monster" (canzone da limone duro).

Grandi assenti dal repertorio BABEL, SIGH NO MORE e TIMSHEL. Mi hanno tolto le mie ragioni di vita :-(

C'erano tutte le condizioni per renderlo perfetto... ma mi aspettavo un pò di più.

It was songs like Little Lion Man & Roll Away you Stone that initially captured my interest in the band. Sigh no More & Babel shared the same vibe with folk elements & some big hooks. For those whose only exposure to the band is these two albums the new tour may surprise some expecting a banjo laden party atmosphere. This is a band that seem intent to break people’s concept on who they are, the third album Wilder Mind changed the game by ditching the acoustic guitars & plugging in the electrics but the distinct Marcus Mumford vocals ever present & the heart of the band still intact. The new album Delta is with out question a brave step for the band & it will no doubt have its critics as the electro-pop & r&b elements will surprise everyone. After seeing them perform a lot of the new material last night those that don’t give the new album a second chance are missing out. The stage & lighting makes everyone feel like part of the show with the stage in the center of the venue & giving the band the option to go to perform to any section of the crowd they choose. Guiding Light, Slip Away, Rose of Sharon & Delta are the stand out tracks on the album for me & most of these were performed at Glasgow last night. It’s a show and a production that needs to be seen to be believed, massive spectacle, clearest sound I’ve heard live & lighting design & fireworks making for a set that you couldn’t take your eyes off. Gutted for those that had booked for the upcoming shows that have been postponed due to “technical & logistical issues” but trust me when they do perform for you it will be well worth the wait. Top marks gents, first time seeing you live but definitely will not be the last.

I've been a fan of Mumford & Sons since the release of their debut album, Sigh No More. I was captivated by their lyrics and instrumentation, and I never knew I could like folk-influenced music until I heard of them. Although I like their first album better, Mumford's sophomore album, Babel, is still great. On the second night of Lollapalooza last year, I got to listen to the lead singer's (Marcus) flawless voice, and seeing the band in the flesh was like a dream. It was such a beautiful night that I will always remember. My friends and I were in the process of recovering from Kendrick Lamar's show as we slowly headed over to the stage where Mumford & Sons were playing. There was an unbelievable amount of people who came out to see them. The crowd stretched all the way up to the road leading to the main area of the park. We decided not to immerse ourselves in the pit since we were still tired from the last concert, so we sat in an area where people were more spread out. It was so relaxing listening to Mumford under the city lights. I could see on the big screens how happy the band was as they played for us. The most memorable part of the concert was when they performed "Lover of the Light." Everyone was singing the chorus, and as the song started to build, there suddenly were fireworks behind the stage, lighting up the Chicago skyline with euphoric colors and light! It was such a beautiful and exciting sight too see. I'm still amazed at how perfectly timed it was. The crowd was so happy; none of us expected to experience a concert and a fireworks show at the same time. I'm so glad that I got to chill with Mumford & Sons after an upbeat day full of concerts.

Mumford and Sons are probably the best live band of the millennium. Their performances are always electrifying with boundless energy that resonates through whatever venue they are playing.

I'm lucky enough to have seen them 13 times in their evolution, from playing their second ever gig in the Union Chapel supporting Laura Marling, to wowing 500 people in a barn for an album launch party where the crowd got to do barn dancing with the band after they performed. Now they can headline Glastonbury and they made their very own Gentlemen of the Road festival which might sadly be the last show I'll have seen them at, depending on whether they return from their "hiatus".

When Mumford and Sons perform they always have a magic onstage and a surprise up their sleeves, usually bringing onstage all support bands or other bands at festivals they've played together with for an encore, wowing the crowd with stomping intense versions of Fleetwood Mac - The Chain or The Beatles - Hey Jude or With A Little Help From My Friends. Mumford and Sons live is a completely different experience from the commercial radio product most people know. They're the greatest songwriters of their generation and their folk bluegrass anthems pump infectious positive energy through every living breathing soul that witnesses this live experience. After Glastonbury 2013 the hype and the sales figures behind Mumford and sons trounced the Rolling Stones. That just about says it all. And they're amazing lovely funny guys.

Mumford & Sons have had an interesting rise to the cult following they now attain. The British audiences first of all embraced their own brand of traditional alt-folk and made the debut album 'Sigh No More' a commercial and critical success.

The Americans soon followed suit with their combined unashamed love of country and everything they consider to be twee and British, Mumford & Sons seemed a perfect match. Now their live show has taken them to some of the biggest stages on both sides of the Atlantic with the stomping folk of the debut and follow-up 'Babel'.

A Mumford concert is quite an unusual affair as the audience is constantly drifting between the hoe-down high energy of 'Little Lion Man' and 'Winter Winds' to the solemn and poignant 'Timshel' and 'Ghosts That We Knew'. There are moments of dark intensity in the form of 'Thistles & Weeds' and the epic main set closer 'Dust Bowl Dance'.

Despite a slight misfire during their Glastonbury headline set, Mumford & Sons have an integrity and craft in the way in which they make music that is often difficult to find in the 21st century.

19.05.2016 / Vienna Stadthalle - Mumford & Sons: it was an excellent concert, really unforgettable!! what a magic performance! from the first second totally flashed and fascinated! incredible atmosphere...marcus, ben, winston & ted rocked vienna stadthalle!...and the audience really loved the guys,- there was an incredible good energie,- 2 hours full with their brilliant songs: a wonderful mix of old and new songs, full with heart and soul touchings masterpieces..goose bumps at every song! i really hope that mumford & sons will soon come back to austria! for all who love the great music of mumford & sons,- if you ever have the possibility to see a live concert - take the chance - you must see mumford & sons live at least once in your life....to be impressed and fascinated! thank you so much for these great moments..i wish i could turn back time and see them again...unique concert!

Wow, what a show! Right from the start Mumford had huge energy, with a Stadium-era performance I haven't heard in years. All the hits interspersed with intimate moments. Highlights included Marcus running up from the floor of the Hartford XL center (hockey rink) to the upper decks all while singing, hugging fans, waving to the audience from the balcony. Wow! The crowd knew every tune and and sang along to most. Foot stomping, clapping high energy crowd. The encore blew me away. At the start, the band members went up to an upper deck balcony with one microphone, and sang a set a capela. Totally soulful, intimate, and engaging. Then they returned to the stage and kicked it into high gear with pyrotechnics, ear shattering volume and energy. They are one of top live performance bands to come about in decades!

It was amaaaazing!!!! Such a great crowd, jumping and singing together to every song, it was a wonderful experience. I have seen Mumford & Sons quite a few times, this was definitely a very special one. It was also the first time I saw the new 360 stage setup, and I absolutely loved it! The members are constantly moving around and with the beautiful lights, design and great sound it is a completely different and exciting level of a live show. This setup makes you feel a lot more ‘closer’, it’s like you’re a part of it all. I am very happy I have the chance to see then again soon at another stop of the Delta Tour, can’t wait! This is something everyone should experience at least once (but preferably tons) in their lives! :)

Mumford and Sons are a live band that never disappoint. The passion that goes into each performance is incredible. Crowd pleasers like "I will wait" "little lion man" and "the cave" will have you jumping up and down fist pumping along with a sea of Mumford loving fans. Mumford started off their career as a cult band playing small venues to less than 100 people now on their arena tours all over the world they still manage to create a gig vibe where you feel a connection to the band. No crazy pyrotechnics no backing dancers or costume changes Mumford are just 4 lads with the occasional drummer or fiddle player joining them on stage who create a mind blowing performance everytime.

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Mumford & Sons

• Date December 9 , 2018
• Event Starts 7:30PM
• Doors All doors open at 6:00PM
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• Ticket Prices $44.00, $64.00, $84.00, $104.00
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Mumford & Sons will embark on an extensive 60-date worldwide arena tour this fall featuring a groundbreaking new in-the-round stage design. Kicking off November 16 in Dublin, the tour will span throughout next spring and includes fall North American stops at Philadelphia’s Wells Fargo Center, Boston’s TD Garden, New York’s Madison Square Garden, DC’s Capital One Arena and Toronto’s Scotiabank Arena. Special guest Maggie Rogers will join as support.

The band’s largest tour to date, the Delta Tour 2018/2019 includes over 800,000 tickets, which will go on sale starting next Friday, October 12 via https://www.mumfordandsons.com/live. See below for complete tour details.

The tour celebrates the multi-Platinum, Grammy Award-winning band’s forthcoming album, Delta. Available now for pre-sale, the band’s fourth release hits shelves November 16 on Gentlemen of the Road/Glassnote Records. Delta was written collectively by the band, produced by Paul Epworth and recorded at London’s The Church Studios. Listen to the album’s first single, “Guiding Light,” HERE.

Already receiving widespread acclaim, the band recently debuted “Guiding Light” on “The Tonight Show Starring Jimmy Fallon” with special guests The Roots. Watch the performance HERE. Marcus Mumford also joined host Jimmy Fallon as a guest on the couch. Watch the interview HERE. Additionally, Rolling Stone calls the single, “wildly experimental…Delta has the band incorporating elements of electronica, rap, jazz and other sonic territory rarely visited,” while Paste asserts, “If it’s any indication of how Delta will sound as a whole, this could shape up to be the band’s most experimental album yet."

Marking ten years since Mumford & Sons made their meteoric debut, the new music follows 2015’s Wilder Mind, which debuted at No. 1 in the U.S., U.K., Australia Canada, Ireland, the Netherlands and Norway and, most recently, 2016’s collaborative Johannesburg mini album. Previous LPs include 2012’s Babel, which was awarded the 2013 Grammy for Album of the Year, and their 2009 debut, Sigh No More.

Mumford & Sons are Ben Lovett, Marcus Mumford, Ted Dwane and Winston Marshall.

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Tickets will be available exclusively through Ticketmaster online retail channels. Tickets will not be available at the venue box office. The ticket limit is 4, and any orders over the 4 ticket limit will be cancelled. Tickets will only be delivered as Digital Tickets, delivered to your mobile device. You must present your Digital Tickets on your mobile device for entry. Paper tickets will not be accepted. Tickets are strictly non-resellable and the presenters reserve the right to cancel tickets listed for resale (or resold) in their discretion.

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Mumford & Sons

• Date Apr 18 , 2016
• Time 6:30 PM
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Mumford & Sons are coming back to America in support of their certified-gold album Wilder Mind. The band will be polishing off their tin stars as they tour throughout Texas, the South and then Midwest including a stop at T-Mobile Center on April 18.

Says the band’s Ben Lovett, “Touring the United States of America in many ways fulfills the childhood dream of what touring might be like. Waking up every morning with a conversation amongst us about who wants to visit "that" bookshop or "the" ultimate music shop or whatever the various cities had to offer”

Tickets for Mumford & Sons are on sale Friday, Nov. 13 at 10 a.m. at t-mobilecenter.com, Price Chopper Box Office at T-Mobile Center or charge by phone at 888.929.7849.

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Mumford & Sons to Tour North America

By RJ Cubarrubia

RJ Cubarrubia

Mumford & Sons will hit the road this spring for a tour of North America that will wind through the U.S. and Canada intermittently through September. The English folk-rockers kick off their latest outing May 21st at Calgary’s Scotiabank Saddledome and wrap up on June 20th at  the Telluride Bluegrass Festival in Colorado. They’ll also be stopping by Bonnaroo on June 15th.

On the Cover: Mumford & Sons Rattle and Strum

The band will pick up their tour from August 2nd to the 4th at Montreal’s Osheaga Festival and will travel with their Gentlemen of the Road Stopovers to Simcoe, Ontario (August 23rd and 24th); Troy, Ohio (August 30th and 31st); Guthrie, Oklahoma (September 6th and 7th); and St. Augustine, Florida (September 13th and 14th). Mumford & Sons were expected to headline Lollapalooza, which takes place August 2nd to 4th in Chicago, but their dates at the Osheaga Festival conflict with previous reports. Full tour dates follow below.

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The band’s most recent LP, last year’s  Babel , won Album of the Year at the 55th Grammy Awards in February.

5/21 Calgary, AB – Scotiabank Saddledome 5/22 Edmonton, AB – Rexall Place 5/24 Surrey, BC – Holland Park 5/26 George, WA – Sasquatch Music Festival 5/27 Portland, OR – Rose Garden Arena 5/29 Berkeley, CA – Greek Theatre 5/30 Berkeley, CA – Greek Theatre 5/31 Berkeley, CA – Greek Theatre 6/02 San Bernardino, CA – Glen Helen Regional Park 6/03 Chula Vista, CA – Sleep Train Amphitheatre 6/05 Phoenix, AZ – Desert Sky Pavilion 6/06 Taos, NM – Kit Carson Park 6/08 Austin, TX – Austin 360 Amphitheater 6/09 Austin, TX – Austin 360 Amphitheater 6/11 Dallas, TX – Gexa Energy Pavilion 6/12 The Woodlands, TX – Cynthia Woods Mitchell Pavilion 6/13 New Orleans, LA – Mardi Gras World 6/15 Manchester, TN – Bonnaroo Music Festival 6/17 Bonner Springs, KS – Cricket Wireless Amphitheatre 6/20 Telluride, CO – Telluride Bluegrass Festival 8/2-04 Montreal, QC – Osheaga Festival 8/23-24 Simcoe, ON – Gentlemen of the Road Stopover 8/30-31 Troy, OH – Gentlemen of the Road Stopover 9/6-7 Guthrie, OK – Gentlemen of the Road Stopover 9/13-14 St. Augustine, FL – Gentlemen of the Road Stopover

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Gentlemen of the road: on tour with Mumford & Sons

By Craig McLean

Early evening in Laramie, on the high, wide plains of Wyoming.

America's one-time Wild West, where no street or corporate sign is complete without the silhouette of a bucking bronco and a Stetson-wearing rider. Was there ever a better place to catch up with a bunch of cowboys?

In one of Mumford & Sons' four buses, "Country" Winston Marshall - perhaps Britain's first "banjo rock star" - is discussing the tattoos on his left arm.

Why the word "tour"? "Um," he replies, "because I love tour."

Not "touring"? Not even "tour!" with an exhortatory or celebratory exclamation mark? Could he only afford the four letters? "Yeah, at the time..." The 24-year-old musician grins. "I'll add the 'ing' now. I know it's not very imaginative."

While we're at it, why the nickname "Country"?

Marshall shakes his head. "I'm not up for it any more; I'm going to change it. It was from an old band where we had pseudonyms. I kept it because I thought it was fun. There was Hillbilly Harry, Duvet Crocket, Kid Fiddler...

The problem is, at the time, for me, country music meant bluegrass.

Now I've spent time in America I've realised I don't actually like country music. It's awful."

Even in a band built on let's-do-the-show-right-here exuberance, four-way decency and sharp banter, the bearded Marshall stands out as Mumford & Sons' quick-witted joker and also as the ace up their collective sleeve. When things start to get a little chin-strokey around the astonishingly successful folk-rock troupe, here comes Marshall with a spring of kid-in-a-sweetshop effervescence. Marshall goofs around, both on and off stage.

His Mick Jagger impersonation is, according to his band mates, to die for.

When this band with no drummer and four singers performs live, Marshall does the crowd-pleasing quips; double-bass player Ted Dwane, 28, seconds as a guitarist; Ben Lovett, 26, (accordion and keyboards) undertakes traditional on-mic frontman duties; while actual frontman Marcus Mumford , 25, looks all doe-eyed, singing as if his life depended on it but keeping crowd patter to a minimum.

They're that kind of band. A bit wonky. A bit, well, wrong.

But Mumford & Sons like it that way. As must the four million-plus people who bought their 2009 debut album Sigh No More . The follow-up, Babel , is this year's fastest-selling album, selling more than 600,000 in the first week, going straight to No.1 in the UK, being streamed more than eight million times on Spotify in its first week.

The foursome might be big here - they won the 2011 Brit Award for Best British album; arena shows are on the cards - and in-demand all over the world (the Australians are particularly keen), but they're even bigger in America. The band's performance with Bob Dylan at last year's Grammys rocket-powered their American profile - despite Mumford & Sons failing to win either of the two awards for which they were nominated (Best Rock Song, Best New Artist).

Back home, however, admitting to liking Mumford & Sons can be social suicide, especially if you paddle in trendier waters. As the true heirs to Coldplay's feel-good, sing-along, emotion-punching arena rock, Mumford & Sons are not cool. The XX are cool. Azealia Banks is cool. Mumford &

Sons? Too joyous, too hootenanny old-timey, too earnest to be considered cool. And have you seen what they're wearing?

Waistcoats are hard to pull off at the best of times. Not, of course, that being cool matters one jot to the band.

By Vivian Morelli

By Daisy Jones

By Ben Allen

Pondering their music's success in America, the band agree it could be to do with the simplicity of their formula: "We have big limitations by not having a drummer," admits Ted Dwane. "It instantly informs a lot of our musical decisions when it comes to writing. What we end up coming out with is not very cerebral music.

It's quite kinaesthetic, and instinctive. We write about just the stuff that happens. It's not very smart or hard to get hold of."

And this from a man who knows what kinaesthetic actually means.

Sitting in the front lounge of the tour bus, Marshall contemplates his navel. Well, his cut-off shorts and stained vest.

Already raggedy, the denims have now split up to his pelvis. His hair looks like a scraggy thatched roof. His spriggy beard has gone a bit simian. Mumford & Sons are only four weeks into a world tour that could last, at least, 52 weeks. What will he look like in 12 months from now? A caveman?

Anyway, that other tattoo - yes, it's a banjo. Marshall's instrument. "I got that a couple of years after 'tour'," he explains. "But I hate [the] banjo now. I still like 'tour'. 'Tour' worked out. Unfortunately the banjo tattoo hasn't. I might just cross it out. Or put another round bit on the end and make it look like a really thin penis."

When the naysayers - and they are not unnumerous - have a pop at Mumford & Sons, Marshall and his instrument are the soft underbelly at which they poke first. Bunch of straw-chewing redneck yokels - from London. Nice bits of London at that.

Waistcoat-loving throwbacks playing fiddly-diddly folk music. The Urban Outfitters Levellers. Worzel Coldplay. They even have a banjo. A banjo! Unless you're from the actual boondocks - rather than Wimbledon Common - that's just a try-hard step too far.

**Does all the criticism annoy Marshall?

** Not at all. I f***ing hate banjos too!

** Well, yes. I liked it because it was easy to play. Don't tell anyone. I actually picked up the banjo because it was a much easier route to getting a job as a musician. No one plays banjo, everyone plays guitar. So yeah, it was easy enough - got a job, didn't I? But I'm not very good at it. I get away with it.

There's a guy called Jerry Douglas who's the best dobro player in the world. And he said something great to me: "Winston, don't ever learn to play the banjo. The reason that it's interesting what you do is that you have no f***ing idea what you're doing!" Which was quite a big compliment from my hero. In a backhanded sort of a way.

Anyone in art is pretending in some way, or drawing from someone before them (Marcus Mumford, frontman)

**What do people get wrong about Mumford & Sons?

Mumford: ** Tonnes of things. Thinking we're one-dimensional, or that we're following some formula. The only formula we follow is that we enjoy playing. The inauthentic thing bothered me. But watch any documentary about Bob Dylan and you realise that anyone in art is pretending in some way - or drawing from something before them. Even the most original artists. And America has embraced us amazingly, so that's been a helpful thing.

Lovett: I don't think any of us have got any folk knowledge at all. We enjoyed rocking out on acoustic instruments in pubs. But that's the end of that. We haven't quite figured out what we are, but we know we're not a folk band. The last gig I went to with anyone from the band was with Winston and we went to see Blink-182. And it was one of the best nights of my life.

Marshall: Uh, I don't know. What do you think they get wrong? That we're faking it and are having a laugh and don't really believe in this music? Really? Anything else?

Inauthentic chancers? Well, we are chancers! Maybe the people who think we're doing it right are the ones who've got it wrong. We are blagging it, that's for sure.

Dwane: We don't read a lot of what people say about us. Self-awareness is one of the biggest enemies to creativity. So I don't know. The fact that we're Marcus' children?

[ImageLibrary##890300/Portrait_1-5_1440]

GQ rejoins the Mumford & Sons caravan - those four buses, three 53-foot trucks, 20-odd crew, one chef, and one security guard - in Lincoln, Nebraska. The fans have been queuing outside the venue for tonight's show since 8am. There are girls present. A lot of girls present. All trying to shelter from the searing mid-afternoon heat beneath some nearby rubbish bins.

Why such devotion? Stephanie Loehr, 22, sandwich delivery operative: "Marcus' face when he performs just struck me. Not very many bands have that passion these days. I love that about them." Gaby Otero, 20, trainee pastry chef: "Their humility - seeing how much fun they have on stage and how humble they are is just beautiful." Hannah Reynolds, 20, nursing student: "The way they perform. You know they're having the time of their lives. It just makes you happy."

All of this is music to Mumford's ears. He explains the drawn-out, year-long recording of Babel as not so much difficult-second-album syndrome as why-stop-the-fun enthusiasm."We just wanted to keep touring," he says of the band named after him not through egomania, but through wanting to create the idea of a family concern: honest, hard-working and respectful. "We didn't want to miss opportunities to play gigs. Of course we knew we had to make a second album, and we really wanted to. But we kept getting offered shows. And we're very bad at saying 'no'. It's something we've got to learn to do a bit better, I think, otherwise we're not going to have any life. I'm feeling homesick today, actually."

Of course, with a beautiful actress wife (Carey Mulligan) who herself spends months away (in Australia, filming Baz Luhrmann's

The Great Gatsby , for example) these days Mumford has a lot more to be homesick about. "Exactly," he smiles. "Yes. My priorities obviously shift. Not necessarily change altogether because our ladies all kind of understand it. But yeah, it's a big deal."

When GQ meets them, Mumford & Sons are teeing up the release of Babel with a six-week American tour.

It's a bigger, rockier album than their debut, although just as tuneful. It was produced, like its predecessor, by Coldplay/Arcade Fire helpmeet Markus Dravs. There's no doubt it will skyrocket the band to even headier heights. So is this the calm before the storm? "I don't think we've ever had any calm, really," thinks Mumford. "We don't believe in calm as a band." Bookings at 5,000-capacity venues like tonight's open-air parkland spot, Pinewood Bowl, are interspersed with sporadic outings for Gentlemen Of The Road Stopover gigs. These pop-up, day-long festivals perform several functions: letting the band showcase the other bands they love; allowing them to go some way towards sating the huge demand to see them (they could easily sell out arenas in America); keeping their feet on the ground, and helping them spend some of the money they've accumulated in the past five years. It's the only kind of indulgence that Mumford's millionaires are happy with.

That chef? Not the whim of pampered rock-star gourmands. Lovett has a peanut allergy that could kill him. "I wouldn't wish it on anybody," he says quietly, recalling a near-death experience on a flight from Australia to the UK after the 2003 Rugby World Cup. Back in the day - three years ago - Lovett had to either bring his own food on tour, or take charge of catering himself. "I remember cooking for 16 people at Liverpool Academy. It was tough but I enjoyed the challenge." Now the band can afford chef Wilf Donaldson, who has a daily budget of £250 to prepare nut-free meals.

If Mumford & Sons are faking it, they're the greatest rock con men GQ has seen

That security guard? He's as much to protect the Mumfords from themselves as from the fans. "There is no real hierarchy within our touring party, or between anyone who tours with us," says Lovett of a band keen to maintain, in the teeth of global megastardom, the open-source, democratic, communitarian ethos of the London nu-folk scene of which they were founding members (see also: Laura Marling, Noah And The Whale, Johnny Flynn, Emmy The Great). "And we'll spend as much time as we can with the people who come to our gigs. If we could have a conversation with each of them we would. We don't try to create a bravado thing."

This attitude explains how they acquired their on-tour photographer. At a gig in LA, fan James Marcus Haney handed the band's guitar tech a DVD of him sneaking backstage at festivals all over the world. Impressed by his chutzpah, a week later Mumford

& Sons hired him. He's been with them ever since.

Mumford, a vicar's son who briefly read classics at Edinburgh University (he has the Greek word for "grace" tattooed on his arm, as well as a wagon wheel) has long been wary of too much press intrusion. Even when the group were just an NME -level indie concern, he hated questions about his then-girlfriend Laura Marling, in whose tour band he served time as drummer. Now that he and Mulligan are husband and wife - childhood "pen pals" via their churches, they started dating in early 2011 and were married in Somerset this spring - he's even more emphatic in his refusal to discuss his personal life. Wary but also easy-going, Mumford will, however, address other issues.

No, the band are not the "literary band" some imagine, even though Sigh No More took its title from Much Ado About Nothing , and Shakespeare isn't the only author it references. "I was going through a massive John Steinbeck phase," says Marcus who, after reading Cormac McCarthy, developed an enthusiasm for farm work. "But now I kind of wish there wasn't so much of an emphasis on [the literary aspect]. Every band I've come across has read more than I have."

Yes, his parents founded the UK branch of Vineyard Churches, a "neocharismatic evangelical Christian denomination" (Mumford was born in California, where the movement has its roots). But despite Babel's biblical title, the group aren't nu-folk missionaries on a preaching tip. "With a lot of our songs," he muses, "either people think they're love songs, and they're not. Or they think there's a religious thing going on when there's not. I think it was TS Eliot who talked about good poetry being felt before it's understood. I believe that. There are some bands where I love their lyrics but I don't have a clue what they're on about."

If Mumford & Sons were a business, in what line of business would you be?

Mumford: Butchers! Butchers are so sick. That high level of skill, I just love it. But when the band goes tits up? Farming.

Lovett: It is a business. We make music. And that's what we give to the world.

Dwane: Maybe like a sutlery - a gentleman's equippers. It's a great word. I'm dyslexic so I don't know how you spell it.

Marshall: PR. I look at our PR guy and think, "I could do that better." What kind of clients? I'd definitely go for the Darkness. Straight in there.

That night, after a pre-gig group-hug-cum-song-circle (they all gather in the dressing room and sing "Sigh No More" a cappella), the Mumfords give the fine folk of Lincoln the show of their lives.

Rounded out by three brass players and a fiddler, they pile through early hit "The Cave", fan favourite "Little Lion Man" and rollicking single "I Will Wait". They're the best bits of the Pogues and Arcade Fire, underpinned with a true appreciation of Americana that smacks of the Band - most members of which were also foreigners (from Canada). If Mumford & Sons are somehow faking it, they're the greatest rock con men GQ has ever seen.

The next day, after the eight-hour, 491-mile drive to Wyoming, they prepare to do it all over again. Tonight's show is an old school-turned-community building. The Laramie Plains Civic Center is also home to the Interfaith Good Samaritan Offices, Cowboy State Paranormal Investigations and the Albany County Coroner. At a capacity of 900, the beautiful auditorium is by some measure the smallest show on the tour.

In their dressing room before show time, Mumford is overjoyed to receive a gift, found by Dwane for less than $1 in one of Laramie's many thrift stores. "Sick!" he exclaims at the original vinyl pressing of the soundtrack to Walt Disney's Robin Hood .

Featuring songs sung by Roger "King Of The Road" Miller, it's the perfect intro music, the band decides, for this evening's gig.

Then this giddily off-message British rock band troop out to do their joyous thing once more, intent on turning another space into their very own barn-dance-cum-karaoke-box. "There's not a lot to hide behind when you make the sort of music we make," Dwane suggests just before walking out into the wall of welcoming noise thundering towards the front of the stage. "We travel with truckloads of lights and gear, so there is production. But there are not scripted moves."

It is, in the end, just the songs.

You're talked about as, "the next Coldplay". Are you cool with that?

Mumford: Oh, God. Is that appealing? Not really. No disrespect to Coldplay. But we want to do things pretty differently. It's not about being as big as we can be. We don't want to conquer anything. We just want to play good shows. We may change our minds but stadiums are something we never really want to do. Arenas are plenty big enough.

Lovett: I queued 24 hours to see Coldplay, at Koko in London, at the start of the X&Y tour.

But it's lazy to say we're the next anything. It's a different time, and we're very different people to any other band.

Dwane: It's a compliment. But I can't ever imagine playing two nights at the Emirates. The O2 feels like a good gig.

Marshall: Not interested, sorry. I wouldn't have pursued the banjo if size mattered to me.

Originally published in the December 2012 issue of British GQ.

By Jack King

By Niamh Rowe

By Heidi Quill

By Sam Parker

By David Paw

By Eleanor Halls and Kathleen Johnston

By Owen Gough

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Mumford & Sons’ upcoming world tour includes a stop in Cleveland

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CLEVELAND, Ohio -- Hipster faves Mumford & Sons is embarking on a world tour that will include a stop in Cleveland.

The show, featuring a theatre-in-the-round stage, hits Quicken Loans Arena on March 9, 2019. Tickets go on sale at noon on Friday, Oct. 12 at mumfordandsons.com/live or www.TheQArena.com.

The 60-date tour kicks off November 16 in Ireland, taking the group across Europe, Australia and North America. That date coincides with the release of the band’s fourth studio album, “Delta.”

The group, whose style is rooted in alternative rock and folk influences, recently debuted the first single from the album, “Guiding Light.” Rolling Stone calls the song “wildly experimental” with “elements of electronica, rap, jazz and other sonic territory rarely visited.”

Mumford & Sons -- Ben Lovett, Marcus Mumford, Ted Dwane and Winston Marshall -- burst onto the scene with their debut album “Sigh No More” in 2009. Their sophomore effort “Babel” won the Grammy for Album of the Year in 2013.

Mumford & Sons

Latest setlist, mumford & sons on may 25, 2024.

Roger Sherman Baldwin Park, Greenwich, Connecticut

Note: Backed by Joe Clegg, Matt Menefee, Laura Bibbs, Darius Christian, Alonzo Demetrius Ryan. Nathaniel Rateliff was noted on the setlist to join for "Wagon Wheel" but didn't. The band was announced as the headliner of the 2020 GTP but the festival was cancelled due to the pandemic.

Marcus Mumford announces 2022 North American tour

The Mumford & Sons frontman will hit the road shortly after releasing his debut solo album, '(Self-Titled)'

Marcus Mumford has announced a North American headline tour for 2022 – tickets will be available from here .

The Mumford & Sons frontman will hit the road stateside this autumn in support of his debut solo album ‘(Self-Titled)’ , which is due to arrive on September 16 via Island ( pre-order here ).

• READ MORE:  The  NME Big Read – Mumford & Sons: “We’ve thought a lot about mortality this year”

The tour is set to kick off in Boulder, Colorado on September 19 ahead of further shows in Denver, Seattle, Portland and Los Angeles throughout the rest of that month. In early October, Mumford will resume the stint in Ventura, California.

He’ll then make stop-offs in cities such as Austin, Dallas, Chicago, Detroit, Nashville, Portland, New York and Boston. The final gig will take place in Toronto, Canada on November 10.

Tickets go on general sale at 10am local time next Friday (July 29) – you’ll be able to purchase yours from here . Fans can access a pre-sale at the same time on Tuesday (July 26) by signing up here .

Danielle Ponder will open for Mumford at the September 19–October 14 concerts (except October 9), with The A’s supporting from October 17–November 10 (except October 30). You can see the full itinerary below.

US and Canada Tour on sale July 25th Pre-sale available at https://t.co/ipqk1HFE1n pic.twitter.com/xlh2C7F3t2 — Marcus Mumford (@marcusmumford) July 22, 2022

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Marcus Mumford’s 2022 North American dates are as follows:

19 – Boulder, CO – Fox Theatre 20 – Denver, CO – Paramount Theatre 24 – Las Vegas, NV – iHeartRadio Music Festival 26 – Seattle, WA – The Paramount Theatre 27 – Portland, OR – Keller Auditorium 30 – Los Angeles, CA – The Wiltern

4 – Ventura, CA – Majestic Ventura Theatre 6 – El Cajon, CA – The Magnolia 7 – Phoenix, AZ – The Van Buren 9 – Austin, TX – ACL Fest 10 – Houston, TX – White Oak Music Hall 11 – Dallas, TX – Majestic Theatre 14 – New Orleans, LA – Orpheum Theater 16 – Austin, TX – ACL Fest 17 – Tulsa, OK – Cain’s Ballroom 18 – Kansas City, MO – Midland Theatre 20 – Milwaukee, WI – The Pabst Theater 21 – Madison, WI – The Sylvee 22 – Saint Paul, MN – Palace Theatre 24 – Chicago, IL – Chicago Theatre 25 – Detroit, MI – The Fillmore Detroit 26 – Louisville, KY – Brown Theatre 28 – Durham, NC – Durham Performing Arts Center 29 – Atlanta, GA – The Eastern 30 – Nashville, TN – Ryman Auditorium

1 – Asheville, NC – Thomas Wolfe Auditorium 2 – Washington, DC – The Anthem 3 – Philadelphia, PA – The Met Philadelphia 5 – Portland, ME – State Theater 7 – New York, NY – Beacon Theatre 8 – Boston, MA – Wang Theatre – Boch Center 10 – Toronto, ON – Massey Hall

A UK and Ireland headline tour will follow in mid-November , including a show at the Shepherd’s Bush Empire in west London.

Marcus Mumford has already previewed the forthcoming ‘(Self-Titled)’ with the single ‘Cannibal’ . Produced by Blake Mills, the record will feature Brandi Carlile, Phoebe Bridgers, Clairo and Monica Martin .

Earlier this week, Mumford confirmed that Steven Spielberg directed the official video for ‘Cannibal’ .

The full ‘(Self-Titled)’ tracklist is as follows: 1. ‘Cannibal’ 2. ‘Grace’ 3. ‘Prior Warning’ 4. ‘Better Off High’ 5. ‘Only Child’ 6. ‘Dangerous Game’ (ft. Clairo) 7. ‘Better Angels’ 8. ‘Go In Light’ (ft. Monica Martin) 9. ‘Stonecatcher’ (ft. Phoebe Bridgers) 10. ‘How’ (ft. Brandi Carlile)

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.cls-1{fill:#1d1d1b;} logo Mumford & Sons

Back to news, us tour announcement – the austin 5000.

USA! We’re so excited to announce The Austin 5000 , an eight-date run of North America later this year.

Named after the many miles the band will have clocked by the time they finish, it’s a drive around their twin headline performances at Austin City Limits in the Fall.

Presale starts on Wednesday 8th June at 10am local time – you can sign up for access  here .

General sale will then open on Friday 10th June at 10am local time (excl. the the 5 October show in Phoenix, AZ, which opens at 12pm local time). A second wave of tickets will also be available at the start of September. Visit the Austin 5000  Tour page for details.

The Austin 5000 Tour Dates

23-25 September – Life Is Beautiful Festival, Las Vegas 26 September – USANA Amphitheatre, Salt Lake City* 28 September – Fiddler’s Green Amphitheatre, Englewood* 30 September – 2 October – Austin City Limits Festival, Austin 4 October – Isleta Amphitheatre, Albuquerque* 5 October – Ak-Chin Pavilion, Phoenix* 6 October – Sleep Train Amphitheatre, Chula Vista* 7-9 October – Austin City Limits Festival, Austin

* Support from Catfish & the Bottlemen

The road between these festivals is a long one, full of people and places we didn’t catch the last time. We hope you’ll join us for these last American shows of 2016.

M&S HQ x

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Here’s the live video, filmed in South Africa, of Mumford & Sons ‘ new collaboration with Senegalese superstar Baaba Maal and London-based, Malawi-inspired jazz/hip-hop outfit the Very Best.

Titled ‘There Will Be Time,’ the track is now available on digital services as the lead song from the British group’s forthcoming mini-album Johannesburg, a document of their recordings made there while touring in South Africa in January and February this year. That’s due for release on 17 June on Island. Here’s the album trailer:

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The mini-album features these collaborators as well as South African pop outfit Beatenberg, and was recorded in two sessions lasting “all day and all night,” as Mumford and Sons put it. The group performed ‘There Will Be Time’ and ‘Wona’ with all of those guests on BBC2’s Later With Jools Holland on Tuesday (26), and you can see them playing ‘Wona’ here:

Mumford & Sons have just completed a sellout tour of North America, and start European shows in Finland on 7 May. They alternate between European and US dates through to July, headlining a Barclaycard presents British Summer Time Hyde Park show in London on 8 July that features all of their colleagues from Johannesburg. Other artists on the bill include Alabama Shakes, Wolf Alice, Nick Mulvey and Mystery Jets.

Listen to ‘There Will Be Time’ on Spotify Explore our dedicated Mumford & Sons Artist Page

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Anguish in America: A Nation Torn Apart — Read PEOPLE's 2020 Cover Story 4 Years After George Floyd's Murder

H andcuffed—and begging for his life—George Floyd died four years ago with a police officer’s knee on his neck, sending thousands into the streets in protest

‘I can’t breathe.’ Facedown on the asphalt in downtown Minneapolis May 25, 46-year-old George Floyd pleaded for his life as he lay handcuffed, the knee of police officer Derek Chauvin pushing into the right side of his neck. “Please.” “I can’t breathe.” “Don’t kill me.” “Mama.”

For eight minutes, 46 seconds, Floyd, who was being arrested for allegedly using a counterfeit $20 bill, lay pressed against the pavement, even as multiple bystanders begged Chauvin and the other police officers participating in the arrest—J. Alexander Kueng, Thomas Lane and Tou Thao—to respond to Floyd’s obvious distress. Even after Floyd stops moving (4 minutes, 46 seconds). Even after Floyd stops speaking (5 minutes, 53 seconds). Even after Lane asks, “Want to roll him on his side?” Even after Kueng checks Floyd’s right wrist for a pulse and says, “I couldn’t find one.” Chauvin’s knee remains. It isn’t until an ambulance arrives and responders bend over an immobile Floyd that Chauvin removes his knee from Floyd’s neck.

Related: 2 Years After George Floyd Was Murdered by a Police Officer, His Sister Still 'Feels His Spirit'

The shattering video evidence of a man losing his life in the custody of the very people sworn to serve and protect him quickly sickened and enraged the millions who saw it. The day after the incident, Minneapolis police chief Medaria Arradondo fired all the officers. By May 29 Chauvin, 44, was under arrest, charged with manslaughter and third-degree murder; he is being held on $500,000 bond and has yet to enter a plea. More charges may be forthcoming. While an investigation into the actions of the other officers remains ongoing—“We felt it appropriate to focus on the most dangerous perpetrator,” Hennepin County Attorney Mike Freeman said May 29—the FBI has also launched a civil rights investigation into Floyd’s death. A somber Arradondo told CNN while visiting the spot where Floyd’s death occurred, “Being silent or not intervening, to me, you’re complicit, so I don’t see a level of distinction any different.... Mr. Floyd died in our hands.”

Related: Powerful Images from Protests Across the U.S. Over George Floyd's Death

That tragedy alone might have been enough to spark what followed—but sadly it wasn’t alone. On March 13 Breonna Taylor, 26, an EMT and emergency-room technician, was killed in her Louisville apartment when police served a “no knock” warrant and shot her when her boyfriend fired his own permitted weapon, fearing for his life. And on Feb. 23 Ahmaud Arbery, 25, was out jogging when he was killed by white men who said they suspected him of burglary near their home in Glynn County, Ga. Floyd’s death in their wake pushed the nation’s long-simmering racial tensions to a breaking point. Protesters took to the streets of Minneapolis and more than 100 American cities to express fear, outrage, despair and anger. Soon peaceful marches turned violent, with police cars set aflame and buildings vandalized and looted around the country. Rioters started fires in front of the White House, curfews were imposed in 40 cities, and National Guard troops were called in to restore order in at least 23 states.

Want to keep up with the latest crime coverage? Sign up for  PEOPLE' s free True Crime newsletter  for breaking crime news, ongoing trial coverage and details of intriguing unsolved cases.

Those who knew George Floyd—“Big Floyd” to his friends—say the former security guard and nightclub bouncer would have been horrified by the violence taking place in his name. “He would have shut it down,” says his childhood friend Christopher Harris, 45. “He wouldn’t have stood for that. If people knew him, nothing would have burned. He wouldn’t want that. He wanted to protect everybody.”

For Alicia Smith, 36, a black Minneapolis community activist who had met Floyd a few times through a mutual friend, the circumstances of his death—and hearing him call out “Mama” with his final breaths—brings her to her knees. “You see the video, and you see an adult man that could be your father, your uncle, your brother,” says Smith, the mother of two boys, ages 11 and 7. “What I saw was my son. What I heard when I saw him scream out and call for his mother, I heard my son calling my name and begging for help. That sound, as a mother, rang so true to me.” Smith struggles with how to show her sons to protest peacefully, how to be safe. “My 11-year-old son asked me, ‘Is someone going to kill me too?’ How do you explain that? So I have to chip away at his innocence by preparing him to exist in this world as a black man when he’s just a little boy.”

But Smith says she is determined to stand up against the injustice that took Floyd’s life—and the lives of so many others. “We’re going to continue to fight until we all can have equal access to be able to walk down the street, jog, laugh, dine, drive, walk in the park, sit on the front porches at the house,” she says. “I’d only met George in passing. We exchanged some salutations. But most importantly, I know millions of Georges. I would like for this to never happen again.”

As the nation struggles to find a path to healing, people around the U.S. share their experiences:

Trae Tha Truth, 39, Houston rapper and longtime friend of George Floyd

 George would always try to make the best of situations. He would be saying, “Hey, naw, this ain’t the way to go about it. This is not cool.” A lot of the younger ones looked at him as O.G. status, somebody they would actually respect and listen to. It’s heartbreaking for this situation to occur. But it’s a good thing that he’s sparking change.

One thing I know: He would stand up if it would happen to one of us. Us standing up now is to protect our kids in the future. A lot of people feel that black lives are less than any other life, and that’s not the case. We matter too. And we’re going to fight for it.

Related: George Floyd's Sister Says Trial Reminds Her of Suffering He Endured: 'He Felt Every Ounce of Pain'

Charles Stotts, 50, owner, with wife Kacey White, of Minneapolis’s Town Talk Diner 

Tuesday night was the first protest here. And our restaurant is—was—about 150 yards from the Third Precinct. We went down there just to, you know, be a part of it. It was what I would call peaceful protesting. Wednesday we noticed that the police were putting up concrete barricades around the precinct building. [An] officer said, “You should grab your valuables and board up your windows and get out.” Thursday night at around 5 p.m. there was one of the most amazing, peaceful protests outside the Third Precinct. It was exactly what a protest was supposed to be. It made you feel good. It was enlightening. And I remember as we left I said to Kacey, “Last night was the turning point.”

Then around 4:30 in the morning Kasey’s phone dings, and it’s a text from a friend of ours: “Your building’s on fire.” It is really heartbreaking. We’ve got our lives tied into that restaurant; it’s literally everything.... It’s really, really hard. A lot of healing needs to happen in Minneapolis. Anybody asks me, “What can I do?” my answer is you can pray for the family of George Floyd. The focus still needs to remain on the fact that there’s a gentleman that should still be with us on this planet, and he’s not.

Art Acevedo, 55, Houston police chief, who has been marching with protesters 

I wish people who don’t understand the righteous anger of so many people of color, I wish they could walk with me with the protesters. So they can hear with their own ears, and see with their own eyes, the deep pain that especially African-American communities are feeling. Just watching that video, if you don’t have indignation, if you try to justify what happened to George Floyd in any manner, then you are the problem. It has been a life-altering experience to actually come out and support a community that truly is hurting. I will take these memories with me to the grave.

Brad Lloyd, 37, a fitness trainer who attended protests in Brooklyn

Hundreds of people... I saw, like, a line of white people just sitting down, creating a barricade. So [police] couldn’t go down the one-way street. So they had to turn and go the other way. And then you saw some black people behind them. And I’m standing right here witnessing the whole thing, the whole time. And I’m like, “Hell yeah. That’s what I’m talking about.” To me, that just says you actually are trying to make a difference for your fellow brother of color.

Tanness Walker, 23, community activist who attended the May 30 march in Los Angeles

We were having protesters talk about their experiences with police and their experiences with injustice. Then the crowd started to move.... The cops came, and they was barricading everyone, throwing tear gas. They parked the cars in the middle of the street and wouldn’t let us through. My brother and one of his friends got hit with the rubber bullets. I got pushed down with a baton when I was trying to leave. It was mayhem. As we left, the looting started. People shouldn’t loot.... It’s happening because these people are mad. But people look at the looters—“Oh, it’s just a bunch of black people looting”—and the message kind of gets lost.... Chanting for George Floyd, wanting justice for him, that needs to be clear. We need to fight for that.

Related: George Floyd's Aunt Angela Harrelson Is Writing a Book: 'He Wanted the World to Hear His Voice'

Mawuli Davis, 51, civil rights attorney who attended Atlanta protests with his sons Kobie, 22, and Khari, 20

I was up on the parking garage when the police car was set on fire and vandalized. I saw that, and I immediately tried to get down into the crowd and find my sons so we could get out. I knew that things had gone in a direction that was not safe. The young people that were down there, they came for their voices to be heard, but they don’t need to be hurt or killed or arrested and have their entire life change. They’re angry. And they have something to say. They’re saying it in the language you may not hear in church. But they’re saying what they have to say. It’s been a very intense situation. Very intense, very volatile. One of my sons described it as surreal. In almost 30 years of organizing, I’ve never seen a police car set on fire.

Olga Hall, 43, a nurse, and her son Tim, 28, a medical office assistant, who attended a Washington, D.C., protest May 30

 Olga: There was electricity in the air. Everybody was there for the same purpose. There were people handing out free cloth masks and free water and snacks. The feeling of camaraderie among the protesters, it filled my heart.

After 10 p.m. a new crowd came in, an angrier crowd. Things started to escalate. You got people climbing up the traffic lights and throwing water bottles and stuff at the police. And the police threw out pepper spray, and things deteriorated from there. People throwing things, bashing windows in, which speaks to the rage that people are feeling.

Tim: I had an experience with the police almost two months ago. They busted into my house and had my mom at gunpoint, and—and it’s not like I did anything. [Police later admitted they had the wrong house.] That didn’t make any sense to me. No sense. Then we’re out yesterday, we are peacefully protesting, and they had the nerve to put gas in the air to make us cough and choke when we have a pandemic going on that’s already an airborne illness. It got really, really angry. Really angry. There was a lot of stuff on fire. Glass breaking. The protest last night needed to happen.

Reneé Hall, 49, Dallas police chief, who cleared the streets on May 29 for protesters to march

People who are 60 remember the days of water hoses being sicced on them by law enforcement, so when these actions surface, even by a small number of members of law enforcement, they look at it as a culture that still exists in the police department. We understand that there have been multiple deaths of unarmed black men at the hands of law enforcement. I acknowledge that. It doesn’t represent all of law enforcement. We are all outraged.

So it was so important for us to say we respect peaceful protests. We will also make sure that no hurt or harm comes to you as you peacefully express your concerns. We stand with you in acknowledging the wrong—and working to fix it.

Related: George Floyd Memorial Photos from the One-Year Anniversary

Amir McRae, 40, owner of ATL Cruzers, a Segway tour business in Atlanta, and a father of three

 I was woken early Saturday by an alarm call at 12:40 a.m. I went downtown, and it was just people everywhere, in and out of the convenience store next to [my business]. My adrenaline was pumping, and I asked people to stop looting. We’ve been in a pandemic, and businesses are hit hard. I helped board up the other businesses, protect the assets. I’ve seen people, young people and older people, just walking around with the right mindset of peaceful protest. I’ve seen some really tough things to watch for our community, which is broken glass and buildings that have been trampled and tear gas and fireworks. I’ve seen a lot. I went and really risked my life through conversation with looters at a business that I don’t own. I’m about making sure that we all do this the right way.

Reporting by ELAINE ARADILLAS, K.C. BAKER, DIANE HERBST, WENDY GROSSMAN KANTOR, SUSAN KATZ KEATING, CHRISTINE PELISEK and JEFF TRUESDELL

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