Rockin’ in the USA

But if you listen closely, there are new sounds coming from Ireland’s shores, looking to reverberate in America.
For the last few years while America has been busy breeding and exporting pop stars, Ireland has been cultivating an impressive rock scene. No longer simply emulating U2 as the model for a successful Irish band, these musicians are carving a niche for themselves and branching out into Europe and beyond.
From The Frames’ long road to stardom in their own right to the suddenly very hot Snow Patrol, new twists on an old idea are giving notions of Irish rock a knock on its side. Now the question is, will Americans take notice?
There are more than a few obstacles to mainstream success in America. It has been notoriously hard for bands from Europe to bring their act here and do well, and it usually involves the difficult and elusive trifecta of a great look, an impossibly catchy hit single, and tireless touring.
It is America’s reputation for being such a hard market to break into that also makes it an elusive prize, one most musicians want but might not admit to. There is a standard of American music acts being perfectly polished and playing in top form to be properly promoted.
Another glaring aspect of this business is how fast the sound changes. Most rock music played on the radio is now coming from younger bands with elements of everything from rap to electronica thrown in. It could be said that the appetite for what purists consider rock is waning. If a band trying to make it is snubbed from radio or, even worse, MTV, chances are they will never make a huge impact.
There is also hard work involved; do less, it seems like all smoke and mirrors. Many bands attribute success here to a rigorous schedule of touring the vast corners of the U.S. for at least a year. This can bankrupt a smaller act or simply wear them out. Still, the experience is vital, some say, to making it.
With all these factors working against your average hardworking band, it might be easier to not even try, but for the brave souls profiled here, it is only the beginning.

THE FRAMES
The Frames’ popularity in Ireland is undisputed. Debuting in 1991, their success and longevity is the stuff of dreams and the 2004 Readers Poll in Hot Press only serves to prove that point. Nominated for Best Irish Band, Best Irish Album, and Best Irish Male Singer, it is a wonder a band so well received has not tried making their mark here. They took home Best Irish Band, an award that usually goes to U2, no matter what kind of year they have had.
The truth is, The Frames have given it a shot. Having toured the States a handful of times, as well as a recent outing last fall with critical darlings Calexico, reviewers could not say enough good things. Their 2001 album, “For The Birds,” was lauded as one of the year’s best. Still, they never caught a strong foothold in America.
What is probably missing in The Frames’ “success in the States” equation is the same thing that some feel is missing in the American market as of late. Their music is best described as the epitome of alternative rock, with layers of sometimes dreamy, sometimes scorching vocals by frontman Glen Hansard. Sharp hooks and layers of guitar crunch over the occasional traditional element of a fiddle. As natural as this combination sounds, it is not what is being played on American radio and TV.
Still, things are looking up for the Frames in the States, but on that same slow and steady pace that they took to the top in Ireland. They are scheduled to open for Damien Rice in a sold-out show at New York’s Beacon Theatre on April 16, and their latest CD, “Set List,” recorded live in Dublin in late 2002, is currently available on the popular iTunes music service.
Hot Press has also bestowed them with the title of the country’s biggest cult band, thanks to little or no help from mainstream media. Their success has given them the chance to regularly play for 6,000-seat venues and seen them top the charts with “Set List.”
They have been through 10 members, four studio albums, and two major record labels. “For the Birds” was engineered by the highly regarded Steve Albini, best known for his work on Nirvana’s “Nevermind.” It seems to be just a matter of time before The Frames achieve the breakthrough they’ve been searching for.

THE FUTURE KINGS OF SPAIN
In response to what has to be the most common question to the band, their press release states that the Future Kings of Spain are not Spanish and they are not in line for any thrones that they know of.
What they are is a quartet of Dubliners having a good time making the music they want. With one of the most promising debuts of the last year, the Kings are well into the midst of attention that comes with such a title. They won this year’s Meteor award for Best New Band, an honor not to be taken lightly. They are also known for their explosive live shows.
Co-founder and drummer Bryan McMahon explains the group’s method simply. “You’ve got to show your songs the greatest respect live . . . maybe people have never heard you before,” he said recently. “You can’t just lash through them.”
The United States looms large in the Kings’ future. There was a self-financed trip to Los Angeles in the band’s infancy to see how they would do here. Playing in such well-known venues as the Viper Room, they were met with excitement and learned about the difference between markets.
“Playing 10 shows in L.A. was the equivalent of playing 30 at home,” McMahon said. “The polish and professionalism makes a big difference.”
Working with Ted Nicely, producer of such well-respected underground bands as Fugazi and Girls vs. Boys, on their eponymous debut album, they are currently in negotiations with record labels to license it in the U.S., and hope to be able to tour here when that is settled.
Honest and friendly, McMahon expressed his concern for bands that expect to make it in American with little effort.
“America is such a mammoth place that a band has to be prepared to commit 9, 10, 12 months to touring. You have to be prepared for the long haul, because it’s a hard market to crack.”
McMahon is clear that their music is the most important thing to the band, and takes precedence over other goals.
“We all respect a band like R.E.M. because they started on a independent label and had the freedom to do what they wanted,” he said. “We want the same longevity. I’ve always thought of us as an album band; we’re not really a singles band.”
The Future Kings of Spain recently returned home from a European tour with the band Muse, where they were playing to 10,000-plus people nightly. They have just finished work on an EP, and are embarking on a whirlwind tour of Ireland, followed by the UK, and then Japan and Australia. After that they hope to try their hand touring the States and promoting their album they hope to have released here by the year’s end.
With any luck, the honesty of their music will find eager ears when they arrive.

SNOW PATROL
Hailing from Belfast, Snow Patrol has been enjoying a meteoric rise to the top since the release of “Last Straw” this past winter. Their last single, “Run,” made it into No. 4 on the singles charts in the UK and their live shows have been touted as too good to miss.
Hot Press, Ireland’s music magazine of record, has given the band glowing reviews for their shows and for “Last Straw.”
Their single’s success alone is fueling confidence that their attempt at reaching our shores will be worth it. “Run” could be at home on singles charts here, as could their promising second single, “Chocolate.” “Final Straw” is currently holding steady at No. 9 on the HMV UK charts.
Formed in 1994 when frontman Gary Lightbody met Mark McClelland at Dundee University, they were quickly signed to Scotland’s Jeepster records. Now at home on Polydor Records, they have the advantage of a bigger budget for everything from touring to better production.
On the basis of the popularity of “Run” in Ireland and the UK, “Final Straw” is being released without haste in the U.S. on April 20, and Snow Patrol have embarked on a 17-date U.S. tour.
Landing in New York City’s Hammerstein Ballroom on April 19, it is a fast move to America for a band relatively new to such heights.
Such confidence is not uncommon for a band that seems to be on their way up with no end in sight. Their rise is faster than most bands attempting to make the leap from Europe to America, but when all the elements are in place, such as the proper look, sound, and touring buzz, it is sometimes hard to deny.
The band has been fielding comparisons to Coldplay, another band whose meteoric rise to the top of American charts defied convention. With heavy rotation on BBC’s Radio One, millions are hearing their songs, which usually translates to an easy move into other markets.
Hopes are high for Snow Patrol, who are simply having fun with their newfound fame. The question remains, will audiences here feel the same?