It is safe to say that my favorite meme across many platforms is “The Ultimate 2011 Millenial Anthem.”
I have always been intrigued by the Indie, Tumblr-centric, and messy bun-filled era that was the early 2010s. However, as I was aged two through twelve in that decade, I never really got to have the introspective deep dive I’ve longed for.
The “2011 Millenial Anthem,” created by Tiktok Comedian Kyle Gordon, gives the perfect label to the niche of music that was 2010s indie—complete with “Hey Ho’s,” “woahs” and one too many mentions of youth.
This song reminded me most of all of the Lumineers “Ho Hey,” a 2012 classic. Because of this, I had a certain aversion for The Lumineers’ music, believing them to be another carbon-copy, millennial indie band whose most popular songs had a familiar (if not annoying) “Hey Ho!” beat.
However true that may be, I was surprised to discover they are still releasing music in the big year of 2025—said music being their fifth studio alum, Automatic, which was released on February 14th.
As said in the album’s Apple Music bio, a majority of their past music consists of “heartstring-tugging love and heartbreak songs.” Automatic, in contrast, “zooms out to take stock of the collateral damage wrought by the ills of the day.” This is ironic considering the Valentine’s Day release, but a nice touch all the same.
Immediately, I was intrigued by the album’s shift in style of music since the band’s debut in 2012. I haven’t listened to much of their catalog besides some record-breaking hits, but this shift to a grungier style was very satisfying to see from The Lumineers.
The opening track, “Same Old Song,” tries its hardest (and succeeds) at catching my attention. This song was my favorite by far, impressing me so much that I used it on my February 14th Instagram post. The first of two singles (released on Jan. 8), combines their newfound edginess, interesting vocals, and thought-provoking lyrics to create a captivating song. With lyrics such as “’Cause any one of us could make it big / or could end up dead on the pavement,” the narrator describes the turbulent, unstable career of being a musician. The track is stock full of allusions to places, songs, and events in the Lumineers’ musical careers, such as their instruments being stolen in L.A. I especially enjoyed the song’s rhythm as it seamlessly tied the band’s new style with their classic indie beat to create a truly unique track.
Another standout song is the album’s namesake, “Automatic.” This track also embraces the alternative side of the band’s style, creating an interesting social commentary on the modern amenities of living in wealth. “Automatic” asks if said pleasures will ever be enough for people to be truly satisfied. Although the instrumentation in this track is fairly boring, the simple chords and lack of percussion highlight Wesley Schultz’s vocals in an enthralling way, climaxing in perfect harmony.
Though I am not exactly a big fan of The Lumineers, this album provided a pleasant surprise and will provide a perfect base for any campfire indie playlists I am sure will spring up in early summer.
