The Gaslight Anthem (Brighton Dome, 10/6/15)
What a delight this was. I love a rock gig in an actual theatre and the Brighton Dome is an absolutely lovely venue. The staff also greeted us with politeness and warmth rather than with suspicion and a frisking. Top marks all round.
The Scandals from New Jersey opened the show, who appeared to have a strong relationship with tonight's headliners (I've since discovered that Brian Fallon produced their most recent record). Gaslight have clearly influenced their brand of sharp riffed 3 minute punk rock but it certainly doesn't feel derivative during a most enjoyable 45 minute set. Having seen two examples of it so far this week, I much prefer one support act doing 45 minutes than two supports doing half an hour in terms of retaining the momentum of a show.
This was my fifth Gaslight Anthem gig and I've learned to expect the unexpected. Not many bands would open with a bonus track from their most recent record (the mellow lament of "Have Mercy"). What follows is an eclectic two hour romp through the deepest recesses of an increasingly impressive back catalogue. This show was approximately a thousand times better than their gig at Alexandra Palace last year, where my friends and I felt about 100 yards away from the band.
It's a minor gripe but not for the first time, my favourite TGA record "American Slang" is largely overlooked, save for the superb "Spirit of Jazz" and "She Loves You". I'd be curious to know if the band have taken against playing certain songs off it live. But generally speaking, there's plenty here to engage fans both new and old. Particular tracks are elevated by the live setting. I find "Too Much Blood" a bit plodding on record, but here it's brought to life by an extended heavy outro.
"The 59 Sound" brings the room to its feet followed shortly by "The Backseat", possibly the best product of the band's marriage of rock and roll with punk. The band return to their debut for the finale for the enormous singalong of "We're Getting A Divorce, You Keep The Diner". "It's alright man, I'm only bleeding man. Stay hungry, stay free and do the best that you can". A sentiment we can all get behind.
28 songs, no encore. Frankly, no encore was necessary.
The Scandals from New Jersey opened the show, who appeared to have a strong relationship with tonight's headliners (I've since discovered that Brian Fallon produced their most recent record). Gaslight have clearly influenced their brand of sharp riffed 3 minute punk rock but it certainly doesn't feel derivative during a most enjoyable 45 minute set. Having seen two examples of it so far this week, I much prefer one support act doing 45 minutes than two supports doing half an hour in terms of retaining the momentum of a show.
This was my fifth Gaslight Anthem gig and I've learned to expect the unexpected. Not many bands would open with a bonus track from their most recent record (the mellow lament of "Have Mercy"). What follows is an eclectic two hour romp through the deepest recesses of an increasingly impressive back catalogue. This show was approximately a thousand times better than their gig at Alexandra Palace last year, where my friends and I felt about 100 yards away from the band.
It's a minor gripe but not for the first time, my favourite TGA record "American Slang" is largely overlooked, save for the superb "Spirit of Jazz" and "She Loves You". I'd be curious to know if the band have taken against playing certain songs off it live. But generally speaking, there's plenty here to engage fans both new and old. Particular tracks are elevated by the live setting. I find "Too Much Blood" a bit plodding on record, but here it's brought to life by an extended heavy outro.
"The 59 Sound" brings the room to its feet followed shortly by "The Backseat", possibly the best product of the band's marriage of rock and roll with punk. The band return to their debut for the finale for the enormous singalong of "We're Getting A Divorce, You Keep The Diner". "It's alright man, I'm only bleeding man. Stay hungry, stay free and do the best that you can". A sentiment we can all get behind.
28 songs, no encore. Frankly, no encore was necessary.
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