#Snail mail chords full
Even with her modest set up -a Macbook and a Telecaster -she felt like an act more than ready to be occupying the headline slot.ĭespite Snail Mail having similar origins as a lone performer, in contrast Jordan was supported by a full backing band, even as she was clearly still the guiding force. She didn’t interact with the crowd too much, but always came across genially, and her small array of foot tapping and twisting dance movements conveyed a sense of rhythm without ever detracting from the music. Whilst her fuzzy riffs did plenty of work in augmenting either the air of melancholy or the anthemic tone, she was also bolstered by some well-produced backing tracks, adding more than just the requisite synthline -be it sequenced hand claps or hip-hop evoking basslines.Ībove all else though, Lawrence had a free and easy stage demeanour that lacked for affectation. More than just repetitive sadness though, Lawrence was able to flit between pop-ready melodies and downbeat slacker debasement with ease. Lawrence runs a wholly different gamut just by nature of the effortless dexterity of her voice, whether it was blasting out with urgency or quivering at barely a whisper.
Liz Lawrence ostensibly shares a few overlapping qualities with Snail Mail, given that she’s a female singer-songwriter with a hazy electric guitar, but such an equivalency does both artists a disservice. It’s no surprise then that her show on June 3rd at the Hare & Hounds in Birmingham was a sell-out. Her zeitgeist-inducing moment came last year with the release of her debut album Lush, as pointed a series of teenage laments as anything else in the indie rock canon. Lindsey Jordan, better known by the moniker of Snail Mail, has an underground reputation that’s steadily built to a scene-wide fever pitch. Following on from her universally acclaimed debut, Lush, Snail Mail played a grungy set of lo-fi indie at the Hare & Hounds on June 3rd.