Todd Daniel Snider (born October 11, 1966) is an American singer-songwriter whose music incorporates elements of folk, rock, blues, alt country, and funk.

Snider was born in Portland, Oregon and grew up in nearby Beaverton, where he lived until he graduated from Beaverton High School in 1985. After high school, he moved to Santa Rosa, California to attend Santa Rosa Junior College. He only lasted one semester, but while there, he learned to play the harmonica.

With help from his brother Mike who bought him a plane ticket, Snider moved to San Marcos, Texas northeast of San Antonio, after leaving SRJC in the late fall of 1985. Not long after arriving in San Marcos, Snider saw Jerry Jeff Walker perform solo at Gruene Hall, a legendary dance hall in New Braunfels, Texas southwest of Austin. When he saw Walker that night, he decided he wanted to become a songwriter and began writing songs the next day. He told Lone Star Music Magazine in 2004, "I didn't even know how to really play guitar yet, but I saw his show and went and got one."

Snider met Kent Finlay at his very first writer's night, which was at Finlay's San Marcos club, Cheatham Street Warehouse. Finlay, who was a songwriter in his own right, became an important mentor and introduced Snider to the songs of Kris Kristofferson, Guy Clark, John Prine, and Shel Silverstein among others. Snider was soon packing small rooms in San Marcos and over the next few years began to draw enthusiastic crowds in Austin, as well.

Snider also discovered Memphis songwriter Keith Sykes while living in San Marcos when a friend at the local record store turned him on to a pair of albums Sykes made in the early ’70s. In 1989, Snider's father moved to Memphis and happened to meet Sykes’ sister-in-law. Through that connection, Snider sent Sykes a demo tape of some of his songs. Sykes thought one of the songs had potential, so Snider moved to Memphis to try to work with Sykes. Not long after he arrived in Memphis, Snider landed a weekly residency at a local club The Daily Planet. He not only was soon packing the room, the audience knew the words to the songs and would sing along. Through Sykes, Snider met Prine in 1991 while assisting on pre-production work Prine was doing with Sykes in Memphis for his album The Missing Years. It was the beginning of a friendship Snider and Prine had until Prine's death in 2020. In 1992, Sykes helped Snider land a development deal with Capitol Records. He recorded a number of sides in Nashville for the label, but they declined to pick up his option for a full album.

Around the time of the Capitol deal, Snider began performing with a small band backing him which he dubbed the Bootleggers. The band's lineup fluctuated some over the first year or so, but by the end of 1994, the lineup was set with Will Kimbrough on guitar, Joe Mariencheck on bass, and Joe McLeary on drums. Snider also had changed the band's name to the Nervous Wrecks.

Sykes was a one-time member of Jimmy Buffett’s Coral Reefer Band and Buffett had recorded a few of his songs, so when the Capitol deal fell through, he reached out on Snider's behalf to Buffett's label, Margaritaville Records, which was distributed by MCA. Not long after label exec Bob Mercer saw Snider perform at an industry showcase in Memphis in April 1993, Snider flew to California to open a show for Buffett. After seeing his set, Buffett offered Snider a deal with Margaritaville.

Snider's debut album for Margaritaville, Songs for the Daily Planet, was released in 1994 and reached number 23 on the Billboard Heatseekers Albums chart. Produced by Tony Brown and Mike Utley, the album was literally composed of songs he was playing at the Daily Planet nightclub in Memphis. Although there were a few guest musicians and singers on the record, the core lineup was Snider on acoustic guitar, Joe Mariencheck on bass, Joe McLeary on drums, Utley on keyboards, Eddie Shaver on electric guitar, and Peter Hyrka on mandolin, acoustic guitar, and violin. The record included a hidden track, "Talking Seattle Grunge Rock Blues," which became a minor radio hit, reaching No. 31 on the Billboard Album Rock Tracks chart. A talking blues for Gen-X, the song mocked the early ’90s grunge scene and featured a band that refused to play. The video for another single from the album, "Alright Guy," was in rotation on VH1.