REVIEW: Mumford & Sons make rousing return to Berkeley’s Greek

Mumford & Sons perform at the Greek Theatre in Berkeley on June 9, 2025. Jane Hu/STAFF.

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BERKELEY — On the second stop and third show of their Rushmere Tour, Mumford & Sons on Monday reaffirmed their place in the contemporary folk-rock landscape with its blend of heartfelt lyricism and rousing, anthemic rock. It was a triumphant return for the British band, which survived a seven-year hiatus and the controversial departure of Winston Marshall since its last time on the road.

The band took the stage while it was still light out, just as a chill gray fog rolled into the open-air venue, what frontman Marcus Mumford dryly called “slightly British weather.” Rather than dampening spirits, the overcast sky lent an air of intimacy to the evening. Couples leaned into each other, toddlers cuddled in their parents’ arms and the crowd settled into the chilly atmosphere.

The stage design kept the focus on the musicians. Rather than displaying elaborate graphics, a projection screen directed all eyes on the performers, enhanced by an old-timey film filter that perfectly complemented the music. As the energy swelled, the on-stage lights strobed for the more raucous rock anthems, while bursts of fire added a visceral punch. Extending beyond the stage and back toward the lawn, string lights wove through the venue, creating a warm, communal glow during other songs.

From the moment Mumford, Ben Lovett, Ted Dwane and several supporting musicians took the stage, a palpable energy settled over the crowd. The set, spanning Mumford & Sons’ catalog, pointed to a band both self-aware of its roots and stepping into a new chapter.

Interestingly, the band played just four tracks from its new album, Rushmere, down two from the tour opener. But this band has a deep catalog. “I Will Wait” erupted into a massive singalong, bolstered by a triumphant-sounding brass section. “Awake My Soul” was perfectly anthemic in its slow build and bittersweet release, reminding why Mumford’s early work struck such a chord in the first place.

Mumford & Sons perform at the Greek Theatre in Berkeley on June 9, 2025.

The show flowed between two distinct gears: thunderous rock and hushed folk. On the rock end, new track “Truth” showcased the full nine-member band, building momentum with handclaps and flames leaping up from the stage. The title track from 2018 album Delta roared to life under waves of blue light, its grand guitar lines washing over the amphitheater. And fan favorite “Babel” became another chorus shared between thousands of voices, rousing and wild.

The band’s softer side offered some of the night’s most powerful moments. Stripped-down new song “Where It Belongs” gave space for Mumford’s voice to settle into its plaintive tone, backed gently by guitar, keys and bass. It was a return to the kind of heartfelt folk that first defined the band. “Ghosts That We Knew” carried that same emotional weight, with the soft plea “just promise me we’ll be all right” hitting differently now. Attendees knew to hold back their voices, letting the song’s quiet end land in complete silence.

Later, the trio made its way to a small stage near the back of the amphitheater, prompting a wave of cheers as fans turned to follow them. Gathering around a single mic, they performed “Timshel” and “Reminder” in close harmony, acoustic and unadorned. It was a moment of intimacy scaled to a massive venue.

A slimmed-down Marcus Mumford was the magnetic center of the show. His voice, husky and resonant, remains the defining feature of Mumford & Sons’ sound, capable of shifting from a tender whisper to a full-throated wail in a single breath. That voice grounds even the most broadly emotional moments in something personal.

Divorce performs at the Greek Theatre in Berkeley on June 9, 2025.

But Mumford is more than a frontman with a distinct vocal timbre. In addition to moving seamlessly between acoustic and electric guitar throughout the night, he stepped behind the drum kit for “Lover of the Light” and the thunderous “Dust Bowl Dance.” He balanced guitar and kick drum for “White Blank Page” and “Little Lion Man.” During “Ditmas,” he sprinted deep into the crowd, high-fiving fans and turning the amphitheater into a circle of shared joy. He seemed more at ease in the spotlight than ever; energized and visibly grateful to be performing again.

The show’s opener, Divorce, provided a compelling opening taste for the rest of the night. The rising British alt-country outfit, with its sometimes moody blend of rock and post-punk, played songs that moved from understated, brooding grooves to more guitar-driven climaxes.

Bassist-vocalist Tiger Cohen-Towell shined shined while singing lead, occasionally belting out impassioned lyrics. It was a well-crafted set that deserved more focus as attendees milled into their seats. Their humble but confident stage presence certainly left a promising impression.

Follow Jane Hu at Instagram.com/plainjane.