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I arrived at Latitude 30 an hour early to guarantee a spot in front of the stage for Youth Group's performance the final night of SXSW. My initial observation was how the small venue didn't seem large enough for the band. Having opened for Death Cab for Cutie and gaining rave national reviews for their latest release "Casino Twilight Dogs," I couldn't help but wonder why scheduling brought them to a place which at most could hold around 100 people. Then it occurred to me the scheduling mistake afforded me the opportunity to witness a uniquely intimate performance.

I was hoping to catch the band members hanging out to offer them a beverage of their choice. However, I didn't recognize anyone in the evening's crowd from the publicity photos. Most likely they were caught up in the musical availability of the festival. I got into position for an unobstructed view at the front of the stage. The crowd began to squeeze tight behind me as the roadie set up their instruments on stage. Just then, I noticed the band members filing in through the exit door. At that point, I realized getting them a drink would be at the cost of losing a good view, so I decided to defer until after the show. I was close enough to read the set list taped to the stage at the base of the lead microphone stand. The set list included all of my favorites.

Perhaps it was their vivacious performance, but it seemed the band was playing each song with a faster tempo than the recording. Lead singer/rhythm guitarist, Toby Martin, kept his head tilted back and to the side. He seemed entranced with each lyric. This was fitting for a song which obviously was born from disgust. We all felt his emotion as he belted out "I'm so sorry. So sorry, I'm so terribly, terribly sorry."

The other members of the band were equally impressive on the track. As I watched, I realized how delicately and intricately Cameron Emerson-Elliott's lead guitar parts fit the vocals. Bass player, Patrick Matthews, bass lines provided a noticeable driving force. Drummer Danny Allen was also invigorating to watch. His thumping snare forced the rhythm section to continuously pump life into the band and the crowd.

As they began "Skeleton Jar," I noticed the band was performing with the same intensity in this venue as if they were playing Texas Stadium. Having heard the song over a hundred times since its release, I never enjoyed it as much as I did that night. With this performance, they brought new meaning to the song.

"Catching and Killing" cranked up the show's tempo again. The song brought a pulsing reaction from the crowd in sync with the unified bass, guitar, and drums. During the verses, the unique phrasing was shouted by Toby. This was easily, the most recognized track off the new album. However, the crowd didn't seem to base their enjoyment on its familiarity as much as they did the performance.

After seeing the set list before the show, I realized, as "Shadowlands" began, the show was almost over. I was expecting Youth Group to offer a low-key and meaningful end to the festival. It was meaningful but instead of playing a series of goodnight songs, the show ignited a fire within me. I was reassured why I endured the lack of sleep and waited in line for those four days. As the last note was played that evening and the crowd roared for more, it occurred to me the crowd was equally reassured. Youth Group provided the best way to close the festival.

Like many of the shows I saw during the festival, their performance left me wanting more. I was a fan of their music before, but now my appreciation for the band had grown to include their songwriting, musicianship and their performance. The festival's true meaning was summed up so easily with their show. The festival provided bands the opportunity to relate to people, gain more fans, and most importantly leave an everlasting impression on those attending the festival; leaving them wanting more.

As the crowd dissipated with smiles on their faces, I approached the bar to buy the band a round of Shiner beer for their last night in Austin. Unfortunately, the bar denied my request. At that point, I was at a loss on how to repay the band for such a magical show. I approached Cameron and introduced myself. I told him how much I appreciated such an energetic performance to close the festival. I assured him they rocked the roof off the bar. Although, it wasn't a beer, Cameron was emphatically appreciative of my comments. I will make sure to get him a beer when I see him again.

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