Snow Patrol
STUBBS' BBQ -
WALLER CREEK AMPITHEATER,
AUSTIN, TEXAS
APRIL 24, 2005

2004 was quite a year for Snow Patrol as they went from relative obscurity outside of their Scottish base to triumphant shows at Britain's largest festivals and a commercial breakthrough in the US. The band, currently in the process of recording the highly anticipated follow-up to their successful Final Straw record, kicked off their spring US tour in Austin at Stubb's BBQ's outdoor amphitheater in fine form.

In what appears to be an intelligent strategic move, the band has taken a break from recording in Ireland to road-test some of their new material and to keep their American audience interested during the wait for the new record. The tour also is providing the first American dates for the band's new lineup, which includes new bassist Paul Wilson, who took over the four-string duties after founding member Mark McClelland was unceremoniously dismissed from the band in mid-March, and keyboardist/sample master Tom Simpson, who was recently made a full-fledged member.

Obviously energized by the first date of the tour, the band hit the stage as if they had been shot out of a cannon. Frontman Gary Lightbody and guitarist Nathan Connolly bounded all over as they tore into "Wow," one of the Final Straw's more high-octane numbers. They continued the charge with "Gleaming Auction" before launching into a stellar version of "Spitting Games," the song that first caught the ears of many US and UK fans. It was a splendid way to start the show and had the crowd on the band's side before they played two new songs, which Lightbody introduced along with an acknowledgement that he knew people paid to hear songs they knew but hoped that the crowd would give the new material a chance.

During the entire show, Lightbody was the epitome of a charismatic frontman showcasing both tremendous stage presence and an endearing enthusiasm. He effused praise for the venue, specifically mentioning his amazement that there are live trees growing in the midst of it. He also showed sincere appreciation for the response of the crowd (estimated at around 1800), which nearly filled the 2100-capacity venue on a Sunday night.

Both he and Connolly kept up their whirling dervish energy for the entire show and gave an extra lift to the quieter songs from Final Straw. New bassist Wilson was less animated but held down his side of the stage firmly and never looked out of place or overwhelmed. Drummer Johnny Quinn held down the beat and seamlessly locked in with the rhythm samples. Simpson, whose presence was barely noticeable as he sat behind Connolly's guitar amps, provided the backing samples and keyboard swells that create the foundation for the songs. These can often seem incongruous or even obtrusive in a live setting, but for Snow Patrol, they become an integral part of the live sound.

The crowd was certainly thrilled by the show. It may have been relatively short at just over an hour, but those sixty-plus minutes had no dead-spots as the band played with non-stop energy even when the tempos slowed. By the end of the regular set, which closed off with the popular ballad "Run" which had many in the crowd singing along with some even holding lighters aloft followed by a ripping version of "Tiny Little Fractures," the atmosphere was electrified. The three-song encore showcased another new songs and sent Lightbody and company off on their tour with an enthusiastic kick up the arse.

The gig provided several insights into why the band has become successful in a US market where so many of their earnest, guitar-slinging UK contemporaries never make a mark. First of all, their songs are so accessible and tuneful with the right mix of power and melody, and they play with tremendous passion and energy. The songs, which are wonderful on record, really catch fire live. They also understand how to play to their strengths and wrote a set list that featured the songs that fans wanted to hear as well as introducing new material. There are too many cases where a band will either just go through the motions of playing their hits or refuse to play the songs the crowd wants to hear, but Snow Patrol found the right mix and was able to both please the crowd and get a sense of how their new material works in a live setting.

Another reason why Snow Patrol is becoming such a vital band is that unlike so many American and UK bands, they are able to be emotionally honest and vulnerable in their songs while being comfortably unpretentious. Too many bands, especially those from London, LA, and New York City but really from anywhere, rely on some sort of posture, whether it be machismo or self-conscious hipness or twee nerdiness; Snow Patrol are just forthright in their image and songs, and as the lyrics to "Wow" say: "If it looks like it works, and it feels like it works, then it works."

The rest of 2005 will have a lot of people watching Snow Patrol with great interest. There are already a number of bands gunning for their spot in the currently important UK rock pantheon, and their popularity will be tenuous until they prove that they can deliver a follow-up to Final Straw. But after witnessing the band in their current state, they should be comfortable that they are on the right track. Popularity can be incredibly fickle, but if Snow Patrol continues to write great songs and play thrilling live shows, they can expect to keep drawing loyal fans. (Andy Smith)