The Lumineers Live in Belfast

Words by Emma Pope

Being trapped in the centre of a huge arena crowd is a warm, unappealing experience at the best of times, but the concept seems especially unbearable in the midst of a heatwave that has broken temperature records. Yet thousands of people braved the wrath of the particularly volatile sun to witness The Lumineers play Belfast’s SSE Arena. The show was one of the last before the arena changes sponsorship to become the O2 Belfast. Despite competing with both the weather and a sold-out Zach Bryan show, the American folk-rock band drew an impressive crowd.

Photo by Emma Pope

After the heat of the shadeless queue, the air conditioning blasting in the arena created a shockingly cool respite. As with every concert, entering the arena meant the true wait began. County Cork native Darren Kiely serves as the opening act, with a set perfectly paced to warm up the audience. Blending Irish folk and Pop, Kiely’s vocals and lyricism resounded throughout the arena. Noah Kahan, Dermot Kennedy and Amble instantly sprang to mind as he played. A particular highlight included Late Texts and Sunrise. Although there was only a handful of showgoers familiar with his music, there was a clear level of passion and the crowd was continually encouraged to join in.

A few minutes after nine, the arena screens lit up with cassette-themed animations of The Lumineers logo and name (although the reminder of who we were seeing was hardly needed). The band – Wesley Schultz (lead vocals, guitar) and Jeremiah Fraites (drums, percussion and piano) accompanied by touring musicians Stelth Ulvang, Bryon Isaacs, Lauren Jacobson and Brandon Miller – entered the stage without much production. Opening, as the tour’s namesake album does, with Same Old Song. As Schultz made his way down the catwalk, dropping to his knees at the edge of the stage, it was immediately apparent why artists such as Noah Kahan revere The Lumineers the way they do (“mesmerised by their sound and storytelling”). Over twenty years, The Lumineers have mastered their craft, instantly engaging the crowd from the very first song.

Flowers In Your Hair and Angela followed, the first of many songs on the setlist named after people. If Harry Styles is known for making songs about fruit, then The Lumineers have women’s names. Fraites joined Schultz on the catwalk for You’re All I Got, parading around, guitar in hand. The pair returned to the main stage for the poignant A.M Radio, before Schultz held a black solo cup aloft – proposing a toast ahead of Asshole. Gale Song saw opening act Darren Kiely be invited to the stage, Schultz largely giving him the vocal spotlight, which truly allowed him to shine.

Next came a personal highlight – Donna. This saw Schultz sat atop Fraites’ piano, ensuring “you hate the name Donna / you love to judge strangers’ karma” will be looping in my head for the coming brains. Winding itself into my brain like the cassette tapes that introduced the group.

The entire ensemble followed Schultz to the end of the catwalk for the global hit Ho, Hey. The cheerful number is the embodiment of the stomp and clap genre that The Lumineers are known for, catchy in every way. Each beat of the pedal drum matched Schultz’s foot stomp, something that occurred frequently throughout the set. Afterwards, Schultz admitted multiple people have told him they used Ho, Hey for their first dance, and he never wants to tell them it’s actually about a breakup. He suggested the next song – the only one in The Lumineers ‚ catalogue he considers romantic – Dead Sea as an alternative. Although the beat makes it feel much sadder, there is undoubtedly something romantic in making someone feel so unsinkable that they compare you to the Dead Sea. for, catchy in every way. Each beat of the pedal drum matched Schultz’s foot stomp, something that occurred frequently throughout the set. Afterwards, Schultz admitted multiple people have told him they used Ho, Hey for their first dance, and he never wants to tell them it’s actually about a breakup. He suggested the next song – the only one in The Lumineers ‚ catalogue he considers romantic – Dead Sea as an alternative. Although the beat makes it feel much sadder, there is undoubtedly something romantic in making someone feel so unsinkable that they compare you to the Dead Sea.

While it isn’t uncommon for an artist to do a barricade walk as part of their set, Schultz took things a step further. Vaulting over the barricade and proceeding to walk the entire arena floor during Brightside. There was no security or fanfare, just him, a cameraman and plenty of high fives as the spotlight guided them through the crowd. The other musicians watched the impressive show of trust from the stage, lending their vocals to the chorus.

Initially, I was confused as to why both of the bands’ photographers were simultaneously so focused on the spot at the end of the catwalk – after all, the bands were on the main stage. I understood the moment the confetti cannons went off partway through Sleep On The Floor, the stage was instantaneously showered in silver and gold, creating the sort of picturesque moment that always ends up in Instagram posts.

Following a rendition of Gloria, the energy levels were brought back up with WHERE WE ARE; the lyrics assuring the crowd that ‘it will be okay’. A message much needed by a Belfast audience who have just experienced such turmoil in their streets. Regardless of where we end up, how lost we become, Belfast and its people persist. Thousands of people united for a few hours on a Wednesday because of music.

Ativan is both the brand name for an anti-anxiety medication and the title of the song that followed Salt And The Sea. Schultz described how it began as a voice note from Fraites and
eventually became a song from the perspective of the drug itself, dealing with the toxic relationship that people can have with their medication. My anti-depressants attempting to seduce me on stage (‘if I can’t make you happy, then nobody can’) in a bowler hat was not the experience I expected when I bought a ticket to The Lumineers, but it is the one I received.

After Ativan came … Charlie Boy, allowing the band to finally break their streak of female names. Leader Of The Landslide saw Fraites dancing atop his own piano, tambourine in hand. The tambourine was yet another instrument he played at some point in the show. The sheer variety of instruments played by each member of the touring band was beyond impressive; backing tracks were done entirely live. There are very few bands that both survive over twenty years and are able to consistently deliver such an immersive experience; it is a testament to their skill that The Lumineers are able to do both. Fraites returned to his piano – albeit at the end of the catwalk – for the tour and album title track Automatic. Schultz joined him, sitting back to back on the piano stall for a rendition that felt strangely emotional and personal in comparison to the studio version, verging on sad as it asked, ‘Is it ever gonna be enough?’

One of the band’s most famous tracks was next, the ever iconic Ophelia. There was another trip to the barricade by Schultz, although this time he stayed on his own side of it. High-fiving the front row through the chorus – ‘Oh, Ophelia, heaven help the fool who falls in love’. Three years ago, Ophelia haunted my A-level exam revision, singing it in this context – in a crowd of thousands – was a moment of freedom, a reminder of progress.

Big Parade had similar energy levels to the earlier WHERE WE ARE, with Schultz promising something special – each touring musician sang a verse in turn. The repeated lyrics had everyone – most of all the crowd – joining in to yell them out (‘fleet of black!’ ‘diamonds cut!’). The individualised introductions and spotlights on the talent of each member ensured their importance to the show was really appreciated. The ending drum solo was particularly impressive.

The final three songs were performed without the typical ‘one more song’ charade of an encore. Like everything else about their set, The Lumineers played things straight without theatrics or tricks, just them, instruments and the stomping and hollering music they’re famed for. They launched straight into My Eyes, followed by one of their biggest hits and the final female name on the setlist – Cleopatra. The crowd’s excitement was palpable despite their fatigue at this stage of the evening.

Ahead of their finale, Stubborn Love, Schultz requested his cup be brought down the catwalk for a second toast, this time to his younger brother, whom he had recently lost. It placed Schultz discussing the importance of connection and music into stark context. Stubborn Love was also the point that Lauren Jacobson elected to take her own barricade walk with her violin, touching audience members on the head with her bow in lieu of high fives.

With that, and the tossing of guitar pics, setlists and drumsticks, the show was over. Throughout it, Schultz had apologised for how long it had been since The Lumineers had visited Belfast, promising it won’t be as long before they returned. Hopefully, he makes good on that promise, and The Lumineers return their infectious energy and a discography you’ll find in a try not to sing-along challenge to Belfast in the near future. Until then, I’ll be singing the same old songs (probably Donna).

Photos by Emma Pope