Their Automatic Tour, an evening defined not by pyrotechnics or flashy gimmicks, but by raw musicianship, deep emotional resonance, and genuine human connection.
The night began with a stellar opening set from Michael Marcagi, who immediately proved why he's one of the most talked-about emerging voices in folk rock. His setlist, featuring tracks like 'Savannah, 'Follows You', and the achingly beautiful 'The Other Side', showcased a songwriter with a strong melodic sense and lyrical depth. A surprise cover of Olivia Rodrigo’s 'deja vu' added a refreshing contrast to his original material, reframing the pop hit with smoky vocals and acoustic earnestness. Marcagi’s performance of 'Scared to Start' hinted at an artist whose best work still lies ahead—but even now, he more than holds his own.
What followed was a masterclass in emotional pacing. Songs like 'You're All I Got' and 'WHERE WE ARE' pulsed with rhythmic urgency, while 'A.M. RADIO' and 'Plasticine' allowed the band to sink into more ambient, dreamlike textures. Then came one of the night’s most tender moments: 'Donna', with Wesley Schultz perched on top of the piano as he sang the first verse, while Jeremiah Fraites provided delicate accompaniment from the keys. It was pure hush-and-goosebumps magic,
Fan-favourite 'Ho Hey' lit up the room with a thunder of claps and cheers, but it was 'BRIGHTSIDE' that truly blurred the line between artist and audience. Wesley spent nearly the entire song walking through the crowd, mic in hand, singing face-to-face with fans, shaking hands, hugging people — it was pure connection. What truly elevated the sense of intimacy, however, was the runway that extended from the main stage out into the crowd, creating a bridge between the performers and the people they were playing for. It became a central part of the show’s dynamic. The entire band made use of it throughout the night, stepping out into the crowd during key songs, breaking down that usual arena barrier.
Sheets of confetti drifted
From there, they moved through an emotional arc: 'Gloria', 'So Long', 'April', and 'Salt And The Sea' swelled and shimmered with layered vocals and cinematic builds. 'Keys On The Table' brought a quieter melancholy, before 'Charlie Boy', performed with Michael Marcagi, took the mood even deeper.
The middle of the set continued with 'Slow It Down' and 'Automatic', the latter serving as both a thematic centrepiece and a sonic anchor for the tour. 'Ophelia' saw the crowd erupt again, a clear reminder of the band’s enduring pop-folk power. Then came 'Leader Of The Landslide', seamlessly blended with a few lines of The Rolling Stones’ 'You Can’t Always Get What You Want' a nod to the roots of folk-rock itself.
'Ativan' brought a darker, more introspective energy before 'Big Parade' turned the mood celebratory again. Each band member stepped forward and sang a verse, showcasing the true collaborative spirit that defines The Lumineers’ live presence. The encore-like stretch that followed was a gift basket for longtime fans: 'REPRISE', 'My Eyes' (performed live for the first time since 2017), and 'Cleopatra' which opened a capella and then bloomed into full-band glory. 'Stubborn Love', the closer, blew the roof off—people dancing, hugging, some even crying - it was beautiful chaos.
In a world where too many arena shows feel polished to the point of lifeless, The Lumineers did something different. They brought the dust, the heart, and the imperfections that make live music special. They reminded us that folk music isn’t just a sound—it’s a feeling. And for one night in Copenhagen, they made a whole arena feel like home.
Nicole Palmlund
Images: Nicole Palmlund
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