2.0 out of 5.0 stars2.0
Over a decade after The Lumineers rose to prominence with their breakout hit “Ho Hey,” they returned with their fifth studio album “Automatic,” released Feb. 14. The folk band stays true to their signature stripped-down sound, yet something feels different. Clocking in at just 32 minutes, “Automatic” is a concise yet frustratingly monotonous album with many tracks blending sonically because of similar tempos, melodies and a noticeable lack of vocal variety. While it attempts to recapture the magic of their past work, it struggles to make a lasting impression compared to the dynamic storytelling of “The Lumineers,” “Cleopatra,” or “III.”

The album leans heavily on a minimalist approach, but instead of feeling intimate and raw, it often feels repetitive. Songs like “Same Old Song” and “You’re All I Got” follow the same formula: simple acoustic arrangements, sparse percussion and lyrics that loop without much development. This can be effective in creating anthemic moments, but throughout the album, it becomes tedious. Where past Lumineers records had a sense of emotional build-up, “Automatic” feels static, rarely offering the dramatic crescendos that made their earlier work compelling.

Despite these shortcomings, a few tracks stand out. “Better Day” offers a glimmer of emotional depth while “Same Old Song,” has a catchy melody despite its repetition, making it one of the more memorable tracks. “So Long” injects some much-needed energy into the tracklist, however, it comes too late, closing out the album instead of breaking up the sluggish pacing. 

One of the more puzzling aspects of “Automatic” is its use of instrumentals. “Strings” and “Sunflowers” serve as interludes, but rather than adding to the album’s atmosphere, they feel like unfinished ideas interrupting the flow. “Sunflowers,” in particular, had the potential to develop into a full song but instead leaves listeners wondering what could have been. Unlike previous Lumineers albums that seamlessly integrated interludes, these feel more like filler.

Another notable difference is the lack of strong backing vocals. Past records featured layered harmonies and powerful choruses that elevated their sound, but here, the vocal production is surprisingly sparse. Songs that could have soared remain grounded, never reaching the emotional heights of hits like “Cleopatra” or “Ophelia.” Take “Plasticine,” where the refrain “Plasticine, I can bend me into anything you need / Self-assured with the teleprompters feedin’ you the word” aims for poignancy but lacks the same weight or resonance because of the restrained vocal delivery and production. 

Perhaps the most glaring issue with “Automatic” is the lack of a standout single. Every Lumineers album has had at least one defining track, but “Automatic” lacks that moment. There’s no song that immediately hooks the listener and no anthem that feels destined to become a staple in their catalog. The subdued nature of the album makes it less accessible, and without that one attention-grabbing hit, it risks fading into the background.

That’s not to say “Automatic” is a complete misstep. The Lumineers still maintain their signature melancholic charm, and for die-hard fans who appreciate their stripped-down style, there’s something to enjoy here. But when measured against their past work, this album feels like a shadow of what they’re capable of. The potential is there, but the execution falls short, leaving “Automatic” as a collection of ideas that never completely come together rather than a fully realized artistic statement.

Ultimately, “Automatic” is a decent but underwhelming addition to The Lumineers’ discography. While it has moments of beauty, the lack of variety, overuse of repetition and absence of a defining single makes it one of their weakest releases. While longtime fans may find comfort in its familiar sound, casual listeners may be left longing for the energy and storytelling depth of their earlier albums.