The Crocodile Seattle, WA
Contact: pete@dead-sounds.com
Web: sprintsmusic.com
Players: Karla Chubb, vocals; Sam McCann, bass; Jack Callan, drums; Zac Stephenson, guitar
If you were alone this Valentine’s day in Seattle, Irish rock band SPRINTS had your back with their ambient electro garage punk melodies that could be heard miles down 1st Avenue outside The Crocodile. Coming off the recent release of their electric “Deceptacon” cover, the band embarked on a 12-date North American tour, which culminated in Seattle for a vibrant night of fun. The turn of the decade has seen a massive boost in popularity for the next wave of unique alternative/rock groups coming out of Ireland. Bands like Fontaines D.C., Gurriers, and, of course, SPRINTS can be heard injecting the garage rock sound with a colorful cocktail of post-punk, indie, and psychedelia.
The self-described “trans slut rock” group Umm, Jennifer set the scene for the night with their indie setlist of tracks about gender, glamour, and the horror of the human experience. Hailing from New York, the group’s overall theme of inclusion and political liberation established the tone that our headliner would later build off of in their songs and speeches throughout the night.
As soft teal lights faded to a deep red, members of the band slowly trickled onto the stage, and slow distorted ambience began to fill the air. It became apparent early into the show that the separation of under-21s and over-21s by a barrier was not going to do the band’s energy justice. What could have been one big unifying mosh pit of charisma and joy was instead split into two mediocre mosh pits that consistently fizzled out fast. When the band brings their all, it’s only fair for the crowd to have the space to do so as well, and SPRINTS sure gave us everything they had for this last night of tour.
Tracks like “Descartes,” “Beg,” and “Pieces” are distorted dancey anthems on their own, but live they evolve into something even more animated and all-consuming. Thick basslines akin to the sound of stretching latex would make you think bassist Sam McCann was playing with A Place To Bury Strangers or The KVB. While singer Karla Chubb channels her inner riot grrrl, holding notes so high she may indeed have broken the glass ceiling.
As the set slowed down, the post-punk influences really began to shine through, deep and melancholic tunes with a throughline of anxiety, religion, politics, and the queer experience echoed in the lyrics. But just as you attempt to settle into those feelings, the band erupts, stage-diving left and right into the crowd and initiating chants. As the night reached its closing few songs, there grew an increasing emphasis on audience participation. The venue floor quickly became a stage as Karla ushered the crowd to kneel down with her in a pivotal moment of togetherness before springing up during the beat drop. Rounding off the set with their most-streamed song, “Little Fix,” certainly got the crowd going, aiding in the band’s attempt to bring on stage as many young, femme, and queer people as the space could hold. As the stage radiated pride and exhilaration, the seminal wall separating audience and artist was broken, leaving nothing left but community.
Ultimately, the magic of SPRINTS is the talent and allure of a big-name rock band without any of the ego or flashy distractions. In a day and age of diplomatic responses, bad movie soundtracks, and problematic donation histories, it’s refreshing to see a band that stands by its morals and has fun doing it.
