If it weren't for the idle chatter between songs and occasional mentions of Manchester and Sheffield, Gomez could easily be mistaken for one of America's best rock-and-roll bands. The British five-piece folded Americana twang, blues-tinged rock, and extended jamming in their set before a near sold-out audience at San Francisco's The Warfield.

The mix of influences drew rock groupies from all walks--fans of The Allman Brothers felt just at home as fans of The Arcade Fire at the show. Though there is a slight rift among those respective camps about the band's earlier years versus their more recent efforts, there is one thing they all agree on--the band puts on one hell of a good live show.

Touring in support of the recently released Five Men in a Hut, a two-disc collection of demos, B sides, and alternate takes, Gomez played a mix of songs from their five-album discography that left the diverse crowd pleading for more.

The first three songs set the pace for the entire show, as the bulk of each tune's vocals were sung by a different band member. Ben Ottewell provided the signature Gomez sound with his raspy Joe Cocker-esque croon. Ian Ball, the nasally tenor of the group, added a touch of indie rock to the mix, bouncing between playing guitar, drums, and keyboards. Multiinstrumentalist Tom Gray's voice--which compared to the others isn't as distinct--rounds out the three-pronged vocal attack with unbridled enthusiasm.

Their talents were shown off individually throughout the show, as at some point they each took the stage alone for an acoustic song (Otteweller's "Make No Sound" was particularly moving), but Gomez really shines (and the crowd really responds) when they sing together on tracks like "Get Myself Arrested" and "Fill My Cup."

Gomez toured six-deep, with another two musicians (one a trumpeter from Afrobeat band Antibalas) providing horns on about half the songs. On their hits, the band doesn't waste an ounce of manpower, serving loud, powerfully dynamic jams that can reach the 10-minute mark.

"Ping One Down," for example, exemplified the Gomez formula. Begin softly, tease a few verses, swell to a gorgeous cacophony, and finish off with an anthemic chorus boomed out by the trio of singers. Though Gomez's perfect use of three vocalists is impressive, it's the accessibility of their songs that really draws the crowd--a quick glance at the audience proved that there were in fact about 3,000 singers at the venue.

For a band that's on the road as often as Gomez is, it's critical they enjoy playing live--and they obviously do. At the conclusion of one particularly rousing song, band members stared baffled at each other, with Gray expressing that even he was surprised at what the band had just done in a "Holy $%@&" moment that was shared by the audience. All Otteweller could do after slamming down the last chord was laugh.

It's the selflessness and personality of Gomez that makes the band a joy to watch. Their fan base is rabidly devoted to the band, and vice versa. And it doesn't hurt that they play some of the best American-roots rock out there--even if they aren't from America.