The Weekly Coos

There is no denying this immense love for The Lumineers’ Cleopatra, especially compared to their debut, which had substantial joy in its string orchestration. Unfortunately, as the years have passed since “Cleopatra,” it feels like The Lumineers have seen their better days since they attempt to do nothing new or inventive with each passing album. There were quality highs in III, a follow-up concept album that lacked excitement outside the first few tracks. You can say the same about 2022’s Brightside and Automatic, their latest release, which feels more like a sound-based “greatest hits” collection. I can admit that some of it still resonates because, as a fan, certain cadences tingle my ears; however, they aren’t enough to recommend this to anyone who isn’t a fan. It feels more like a product created automatically; The Lumineers are merely going through the motions and less focused on making something aligned with musical growth, relying instead on safe structures to keep the momentum going. I’d recommend it to fans, but it doesn’t cross the line for newcomers. It can be they are truly missing Neyla Pekarek, whose strings were the glue holding them together.

“Ativan” stands out as one of the key highlights of “Automatic,” particularly because it aims to be distinct instrumentally rather than relying solely on songwriting, which has been a primary strength for The Lumineers. Whether conceptual or flowing through unique themes, it reinforces emotional Americana. This makes the surrounding tracks more disappointing because they don’t feel new—Mumford & Sons attempted to integrate electronica into their more traditional sound, all while The Lumineers sway between rock and tradition, with the occasional ballad. Fans may feel one of two ways: consistency is key, which is great, but hearing some of the same melodies and string orchestration can dull the experience. I can play it in the background and let it flow without thinking much, enjoying the sounds that resonate. It doesn’t expand beyond that, and although the writing has depth and the choruses maintain focus on what’s good about their craft, as slightly positive as I want to be about this album, I’d rather return to past albums that had more life in the music because I get hooked by the flow, but nothing else. It’s a waste of time, specifically because of my disappointment that only two songs were worth it.

“Same Old Song” is another highlight, primarily because of its riotous nature—it vividly explores familial patterns of mistakes and misgivings but with more zeal. Unfortunately, the idea of “retread” isn’t so welcoming after it. Songs like “Same Old Song” showcase what’s possible; however, these two glimmers (including “Ativan”) can only go so far when recommending this to newcomers or hesitant fans who may have forgotten about this release. This is why I linger on these two tracks, especially given that they possess more energy than tracks like “Asshole” and “Keys on the Table.” They also include two solid instrumentals to balance it out, but I’m not highly recommending them either. Most negatives stem from the production; that doesn’t mean the quality is insignificant, just that it’s more focused on catering than exploration. At 29 minutes, it does feel rushed as well. Tracks aren’t given ample time to breathe; they transition swiftly from one to the next, and you realize that as naturally sounding as this album is, its merits aren’t high. I wanted to enjoy this album, just as I wanted to enjoy “Brightside,” but it seems The Lumineers are stuck in a one-track mindset.

Though I wouldn’t be surprised that Automatic carries many fans, I can’t say I’m one of them. The production does reflect this sense of hitting back to their roots, but it doesn’t expand beyond the known and makes the final product more middling. I’m quite the fan of the Lumineers but this album didn’t have the juice to keep me enticed like it may for others. I want to be like those who see the light in what can be positive about this album, but I haven’t felt so positive as I was with Cleopatra, where the conceptual turn bolstered a new identity. They can deliver when more focused on the bigger world, but we’re left with more humdrum that wouldn’t even play running around in a humdrum town. I can’t recommend this much outside the two songs, or as background noise since it works in those capacities.