After two decades of artistic collaboration, Wesley Schultz and Jeremiah Fraites return with a project that embodies all of the creative efforts that have shaped their identity as long-standing frontmen of The Lumineers.
Identity is a matter of exploration on their new album as many of the tracks allude to the potential limitations of authenticity that the pair have been susceptible to as musicians in the industry, and even, members of present-day society.
Released on Feb. 14, “Automatic” weaves together the range in styles of sound, lyrical techniques and thematic material that the band have exercised throughout the years, proving the 11-track record to be their most experimental work yet.
The first single on the album “Same Old Song” ushers in a sonic experience for listeners as it seemingly blends past melodies from their albums “BRIGHTSIDE” and “Cleopatra” — two works that strikingly contrast in terms of musicality.
In the thick of a percussion-driven piece lives a narrative that is equally as memorable. Lead singer Wesley Schultz voices the recurring struggles of an artist who is struck by the harsh realities of his career choice.
Lyrics like “‘Cause any one of us can make it big / Or can end up dead on the pavement” highlight the depth of deep isolation and disconnectedness that has surfaced within the musician as he has failed to live out his fantasy.
While the Lumineers’ vocalist has come so far, he fills the shoes of the character by using first-person point-of-view, notably calling on storylines from past albums in lyrics like “I cannot afford to see the light.”
Audience members can interpret the lyrics on this track as Schultz questioning his own pursuits as a creative — someone whose music has kept him afloat in the industry, but finds that he is growing tired of singing the “same sad song” to maintain this steady success.
Tracks like “Automatic” and “Keys on the Table” continue to embrace existential perceptions by applying social commentary in song form.
Similar to “Same Old Song,” the title track repeats lyrics such as “Oh, my lover is it ever gonna be enough?” This constant questioning intertwined with a piano-like ballad captures the vulnerability of the speaker who is experiencing intense feelings of desperation and sadness — the way the world operates seems to be the pioneer of these emotions.
As for “Keys on the Table,” the lyric “You’re all I got” echoes the fifth track on the album which carries this line as a title. Schultz repeats the lyric periodically throughout the song, and while this can be construed as redundant, the lyrical repeatedness essentially suggests the exhaustion that the speaker feels — adding that he “can’t believe we lost to the machine.”
Listeners can presume that the continual repetition on the album was applied with intention, as various tracks reflect the experience of an individual being stuck in a constant loop of redundancy, and feeling like there is nothing they can do anything about it.
“Better Day” is another track on the album that builds on the narrative of the speaker existing in a state of disassociation but yearning to stay close to what little he has left of humanity.
The song includes lyrics like “Say something, I’m sorry, please / Can’t we scroll back and delete?” These words not only nod to the title of the album but also emphasize how members in society have shifted from individuals interacting and connecting physically, to consuming each other through a screen.
While living in an era where everything is “automatic” and easily attainable has its advantages, Schultz sonically alludes to the limitations that also emerge. He suggests that as our resources evolve, we have more to lose touch with, and this can potentially hold us in place against our best interests without us realizing it — especially in terms of authenticity.
Upon the album’s release, Fraites commented in an Instagram post how as a songwriter and multi-instrumentalist for The Luminneers, he is glad that they “started off very simple and didn’t inadvertently paint [themselves] into a corner.”
He additionally commented on his indifference of labeling music according to genre and listed the categories that The Lumineers typically fall into — “Americana,” “folk” and” folk rock” in particular.
This concept is the heart of “Automatic” as the album represents the vast musical trajectory that the band has experienced over the last two decades, and the vulnerable state that this choice has confined them to, especially in the present day where we are connected, but disconnected.
Regardless of your opinion on the band’s musical approach, history has proven that any alteration of style that creatives pursue leaves them susceptible to the question of artist identity.
James Mangold’s award-winning biopic “A Complete Unknown” highlights how musicians are liable to negative responses when they subvert the expectations of fans. Similar to how generational icon Bob Dylan experimented with his music unapologetically, The Lumineers seem to be following suit similarly on their latest album.
Shifting the musical landscape is not a new phenomenon, however, it’s a daring decision that the bandmates openly chose to embrace head-on. On their new album, The Lumineers break new grounds through vulnerable storytelling and caution listeners as members of our current “automatic” society to stay mindful of the repetitive nature of the present-day.
