The rain didn’t stop The Lumineers and their guests Vance Joy and Chance Peña from pouring their hearts and souls into their music at Nationals Park from about 7:00 PM until nearly midnight on Sept. 6, 2025.
The Denver-based Lumineers are on their Automatic World Tour, named after their album Automatic, which was released on Valentine’s Day earlier this year. The release date was fitting, as the album – and the concert itself – was like a love letter to life.
Hailing from Texas, Chance Peña kicked off the show as the sun was setting and the crowds were gradually filling every inch of the stadium. He played a guitar alongside four other musicians playing various instruments, including a unique stringed instrument that someone was playing on their lap.
Peña’s music is very soulful, like he’s yearning for something. He has a unique timbre in his voice that makes it intoxicating to listen to. One defining quality of each of the singers that graced the stage that night had in common was their unique and recognizable voices.
When it was time for Australian Vance Joy to come out, the sun had officially set and the rain picked up a bit more, but the stage glowed like a warm fireplace.
Joy began his set with some of his classics like “Mess is Mine,” “Georgia,” and “Saturday Sun.” He talked about how a few years ago, he had opened for Taylor Swift at Nationals Park, and it started to rain when he sang “Saturday Sun.” He said he had déjà vu as it was raining again on this Saturday night, but the song filled the stadium with so much warmth, despite the irony.
After more of his comforting music, he covered “I Was Made for Lovin’ You” by Kiss – not a song you would expect Vance Joy to cover if you are familiar with his music. However, it was performed in a very Vance Joy fashion. Filled with trumpets and saxophones, the song felt more upbeat, jazzy, and more of a major sound than the original minor key. He introduced his band members during this song as they each gave a powerful solo.
Before singing “Fire and the Flood,” he talked about someone he knew, an English teacher, who came up with the line “everything is fine when your head is resting next to mine.” This song was thrilling to hear as it rained.
Joy ended his set with his ukulele and a fan favorite, “Riptide.” His music is a perfect complement to The Lumineers’ music, and it was not the last time he took the stage that night.
At last, the main act had arrived. The screens surrounding the stage showed animations of cassettes and old-fashioned TV screens, in theme with the Automatic album cover. The band came out each in a solid color playing “Same Old Song,” the first song on the new album.
It felt symbolic of the theme of the album: this is a collection of music that feels old school yet timeless. It also foreshadowed the rest of the show because they sang plenty of their new music, but they also sang plenty of their older songs from their previous four albums. It felt like a well-rounded showcase of their discography.
Lead singer Wesley Schultz, decked out in a maroon suit, said they had “no business being out here on this stage,” but they clearly did, seeing as the stadium was more full than it would be for a normal Nationals game. The folk band has had a few members join and leave throughout the years, but Schultz and Jeremiah Fraites have been making music together for 20 years. In fact, this year will be the 10th anniversary of the song “Cleopatra.”
One of the newer members of the band is Lauren Jacobson who played the violin that night in a long green skirt. She joined in 2019, and she stood out to me the most. Her skill on the strings elevated every song, and although she only sang solo during one song toward the end of the show, her vocals blew me away. She sounds crystal clear and brings a new tone to the music. I hope she gets to sing on more tracks in the future. At one point, she played the viola as Schultz was singing, and it blended so well I couldn’t tell where her instrument stopped and his voice began.
The titular song from the new album, “Automatic,” began with strings that sounded like a full orchestra. Then the music stripped down a bit as Schultz and Fraites sat together on the piano bench to sing it. It was a very intimate song, fitting for the tone of it.
Schultz also got deep when he talked about his grief over the loss of his brother, but music keeps him going.
“That’s pretty punk rock to have hope in the face of sadness,” Schultz said.
The whole night felt like one big campfire full of friendship and love. Imagery in the background often showed falling leaves, cozy houses, and enchanting woods. It was honest and raw.
Before singing “Asshole,” Schultz said, “Be suspicious of those who present themselves as perfect, because those are the ones who might be hiding the deepest, darkest secrets.” He even said his wife thought he was an asshole when they first met, hence the name of the song.
It was clear that every band member onstage loves what they do. Heck, even the keyboardist Stelth Ulvang did a headstand for an absurd amount of time. They took up the entire stage with gravitas and moved around throughout the night, interacting with the audience from every angle – including in the crowd. Schultz walked through the audience while singing “Brightside,” which felt slightly odd because the song is pretty mellow, but you could hear the screams of fans dressed in flowy clothes and flower crowns as he passed by with his microphone. There could have been a better, more upbeat song of theirs to do that to, but clearly the fans enjoyed seeing Schultz up close.
This was a long show. The Lumineers’ set alone was two hours long, and with two openers, it was important that each act kept everyone’s attention the whole time. I think the Lumineers accomplished that pretty successfully. I didn’t feel like there was much of a lull at any point – even though I personally don’t know all of their music.
However, I did cry when they sang “Gloria.” That is my favorite song of theirs, especially because my grandmother’s name was Gloria. She passed away when I was young, so hearing this live and watching from high up felt so special.
People in the audience were given light-up wristbands that glowed in different colors and interacted with the songs. In “Ho Hey,” they glittered like the cymbals on a tambourine as people shouted along with the song.
The Lumineers covered a few songs, including a snippet of “Have You Ever Seen the Rain?" by Creedence Clearwater Revival. Clearly the audience has seen the rain already tonight, but it stopped by the time they came out onstage and held off for almost the rest of the night.
They also covered Billy Joel’s “New York State of Mind” – and that is when I noticed that Schultz was wearing a Billy Joel shirt under his suit. I felt that was such a special song to sing, especially because Joel was supposed to perform at Nationals Park with Sting on Sept. 5 before he announced his canceled tour due to his neurological condition. It was a perfect ode to another incredible artist.
One major highlight of the show that I’m sure many concert-goers will remember for a long time is when the Nationals mascot Screech and one of the giant-headed Presidents mascots came out to dance during “Ophelia.”
They also brought out Chance Peña and Vance Joy each again for a song. Their voices mesh so well together. They played around with some of their songs. For example, “Slow It Down” – which brought back a lot of memories for me because it was the second song I ever heard by them – actually sped up a bit, ironically. That’s the kind of fun a band can have during a live performance.
By the end of the show, the band was spread out on the front section of the stage as confetti still floated in the air from an earlier song. The instruments cut out as the crowd sang together as loud as they could. It was a beautiful and solidifying way to end the show. The folksy, heartwarming band bared their souls on the stage and did so surrounded by colors and light. They truly bring light to every space they’re in, which is perfect for a band called The Lumineers.
Setlist
Setlist
Setlist
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The Lumineers
Vance Joy
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