Combining meaty riffs, a trio of rotating lead singers, quirky lyrics, and Southport, England’s Gomez has been churning out a steady collection of hearty rock songs since their formation in 1996. Conventional musical wisdom categorizes the British quintet – vocalist/guitarist Ian Ball, bassist Paul Blackburn, vocalist/keyboardist Tom Gray, drummer Olly Peacock, and guitarist/vocalist Ben Ottewell – as purveyors of indie rock, but their music frequently displays a bluesy tendency (perhaps most notably on the murky “Get Miles” from their debut album).

In the decade since releasing their Mercury Prize-winning debut Bring It On, they’ve released five more critically acclaimed albums. With multiple lead singers and songwriters, Gomez has crafted a sound that’s eclectic, frequently moving between pop, rock, and bluesy lo-fi.

Extensive touring Gomez has molded the five-man band into one of rock music’s most potent live acts. In this performance from 2009’s SXSW Festival, the quintet transforms their melodic, yet hard-charging 2006 single “How We Operate” into an epic seven-and-a-half minute jam, complete with a mammoth guitar freak out at the end.

In 2006, they released their fourth studio album, and their first on Dave Matthews’ ATO label. At the time of its release, critics hailed the album How We Operate for its focus and explosive sound. The title track – which may be familiar to US audiences from its appearance in an episode of the television show Grey’s Anatomy – serves as a something of a microcosm of that album’s energetic, yet intimate feel.

The song is also a fan favorite on the road. This rendition begins with handclaps, raucous audience accompaniment and singer Ben Ottwell’s a cappella vocal. Soon, the band launches into a crush of guitar, drum, and bass. “Please come here/come right on over/and when we collide/we’ll see what gets left over,” Ottwell sings in his raspy croon. He’s joined in harmony by one of the band’s other lead singers, Ian Ball.

The song moves into its second verse, and Ball makes his guitar playing grittier and more forceful. The band cranks a stop-start call and response rhythm midway through the second verse. Things go (somewhat) quiet during the bridge, before kinetic guitars come in again.

As the song winds down, the band rides a two-minute guitar freakout to a killer climax. The audience’s chagrin as the band leaves the stage testifies to the band’s power as a live act.