While you can scarcely find anyone who has not heard The Lumineers’ hit track “Ho Hey,” the impact their style has had on the mainstream is often overlooked.

      As the music world averted its attention to the Grammys last month, the best music that 2012 had to offer was brought to (or neglected from) the spotlight. The Lumineers, however, got the attention they deserved despite coming from a genre often lost in the swarm of pop and rap.

      What most people may not realize is that when the Lumineers caught the attention of the Grammys with nominations for both Best New Band and Best Americana Album, not only were they foreshadowing future success for themselves, but the genre. As their closest relative on the mainstream, Mumford and Sons, also drew attention from the Grammys, most recently receiving Album of the Year for their album Babel, the possibility of the genre expanding seems hopeful.

      Last June, The Lumineers dropped their first and only album, titled The Lumineers, following the success of their hit single “Ho Hey,” which was released earlier in the year in April.

       The Denver-based quintet is most easily categorized as folk-rock, however, the range of style featured on their debut hit album covers a much broader range of music. Their hit single “Ho Hey” has rested itself on the Billboard100 list for 37 weeks and counting, peaking at the number three spot.

      Beyond the attention from the Grammys, the Lumineers have made their mark on the mainstream by pioneering a genre of their own.

      The Lumineers carry a natural, acoustic sound, often times using stringed instruments over a strong, slow percussion line such as the rythmatic beat to “Ho Hey.” On top of this, lead singer Wesley Schultz puts on a bone chilling, emotional performance that seems heartbreaking when you’re down, but an upbeat anthem you can sing and stomp your feet to when you’re in a good mood.

      While “Ho Hey” is by far the group’s best hit, the entire 11-track album is worth a listen at least one time through. Other outstanding tracks on the album include “Stubborn Love.”

      Like “Ho Hey,” “Stubborn Love” brings in the full band for the chorus, creating a more textured sound, especially added to by the only female member, Neyla Pekarek.

      “Slow It Down,” a title  that speaks for itself, is the most somber song on the tracklist. The layers of sound are dropped and Schultz performs a heart-wrenching, deep-hearted vocal performance over a soft rhythm. Unlike any song from the album, “Slow It Down” shows the range of music the Lumineers are capable of.

      “Dead Sea” is carried by the catchy chorus. More than any other track, “Dead Sea” shows the Lumineers’ signature ability to sound somber or uplifting depending on your mood when listening.

       All in all, The Lumineers’ well-deserved success is a monumental step in the music scene because they are among the few from their genre to play on the radio next to electronic songs from pop and rap musicians, which otherwise dominate the mainstream. Truly bringing out the emotional, natural sound that music should be, the band is headed for more success, leaving the possibility of doors opening for similar bands, and with a little luck, refreshing the mainstream.