Ted Dwane

Self-awareness is something that we actually actively avoid.

We always try to make each record a snapshot of the band at that time.

People don't really need to question our sincerity when it comes to our songs.

You look at the instrumentation, and you can't really argue that we set out with commercial aspirations. Banjos and things like that are not part of some formula for global success. But it felt right, and I think there's some value to purity of intention.

Ninety percent of the time, I'm sitting in a bus driving through some place like the Colorado mountains and thinking, 'Wow, we're not in a pub in London anymore.'

Whether people jump up and down when they see us or are completely quiet, it just feels really good that they're connecting.

In December 2010, we embarked on a slightly strange tour of India. We played every kind of gig you could imagine over two weeks, from sports bars to hotel bars to a beautiful outdoor amphitheatre.

There's definitely a negative correlation between the higher the profile and the enjoyment of the gig.

It's impossible to tell how you're perceived. I think it's important not to think about it too much, because it really means nothing. Some people think we're a rock band, and that's ridiculous, and the idea of us being a folk band - you sit in a pub in Ireland and hear those guys play, and you're like, 'Yeah, we're definitely not a folk band.'

Our spiritual home is definitely the U.K., but we have such a breadth of influence, and America's a huge part of that, as I think it is for most bands.

Being a bass player in a band without a drummer for seven, eight years has been kind of weird.

There's a point with every record we've made that the album starts to assert its identity, and I think that's kind of what happened with 'The Wolf.'

We were proud of our first two records, but the parameters were pretty narrow. We didn't have full drums, for example. There were just so many limitations to that setup, and we really fully explored them.

Sticking to our guns creatively is the only way we'll ever survive as a band and be happy.

We really believe in our music, and it's still heartening to know that it's appreciated, and that's what sticks.

We don't make music except for the joy of making music, really - and meeting people and sharing ideas.

We're a restless bunch, and we have a lot of energy - we're never going to stand still.

We never could have foreseen the success of 'Babel.' It's not like banjo records were soaring up the charts, you know.

As soon as we started playing sports arenas, we thought how great it would be if we could instead play to 25,000 people in our own way - a way we can control it so there's not all kinds of company branding around the show - and do it in a way that celebrates the community.

I don't know many artists who've managed to go a career without bringing these things up. Saying the word 'God,' 'Jesus' - it happens in a million rock songs.

You leave school, work terrible jobs to pay rent, and that's when you start finding your way in music and forming bands.

We started off as Marcus Mumford, which is our singer's name. But then it very quickly became apparent it wasn't really a one-man thing: it was indeed a band. We wanted to give the impression of a family business, and we just liked the ring of Mumford & Sons.

Without a drummer, you've got that sort of running, chicken-chasing, rhythmic thing happening with the banjo in the top end - it's what gives our music a lot of its momentum, a lot of its energy.

There's not a lot to hide behind when you make the sort of music we make.

We have this spirit that's just uncrushable.

I play the drums really, really badly.

I think it's a great story, the story of Babel. I think anyone can direct it as an analogy for a lot of different situations.

As humans, we're such a discontented species. We're always trying to further ourselves, and you get all the way to the moon, and then it's just discontent. You want to go to Mars.

Self-awareness is one of the biggest enemies to creativity.

I've always thought of faith as an acknowledgment of not being the biggest thing in the universe.

We'd never thought we'd get to travel so extensively, meet our heroes, and collaborate with so many people.

When we made the first album, it was meant to be a snapshot of Mumford & Sons in 2009.

None of us had really any interest in doing a sort of 'Babel 2.'

We kind of are Okies at heart. I don't really know what an Okie is, but I feel like one.

We have big limitations by not having a drummer. It instantly informs a lot of our musical decisions when it comes to writing. What we end up coming out with is not very cerebral music.

A lot of the time, if you go into an arena, they're pretty uninspiring. But we try to create an atmosphere.

You can't really opt into something you don't believe in.

Most people overcome something terrible at some point in their lives.

We're not the first band who went to public school.

Because we are four creative people - four writers - there was no way that we were ever going to be satiated doing the same thing over and again. Change was inevitable for us. And a very natural thing.

We never thought we'd be commercially viable, and we were proved wrong.

We don't read a lot of what people say about us.

Touring is something I do really well.

If you told me in the '90s that I'd be in a chart battle with Green Day, I probably would have just laughed at you.

When you write on the road, you are restricted to the instruments around you, whereas in the studio, you can plug anything in and try it.

I was a bass guitarist first before I started playing double bass - and I only started playing it because my teacher said I'd get twice as much work, as there's not enough players out there.

We don't want to be as big as Oasis!

We've always imagined ourselves as a rock band. We've always been a rock band playing the wrong instruments.

We wouldn't last a year on the road playing music that we didn't love.

We're obviously a London band, and British at heart.