When the Gaslight Anthem announced earlier this year that they were returning to the stage after calling it quits in 2015, it was met by fans with a combination of jubilation and “I told you so.” After all, the New Jersey stalwarts aren’t anywhere near retirement age and seem to have made it through a career in rock and roll (relatively) unscathed. Front man Brian Fallon has carved out a successful solo career with his own brand of Americana, but he either needed the money or was reminded of the impact of his core band and decided it was time to return to “full time status.” Whatever it may be, few fans have been complaining about the Gaslight Anthem being back. On Tuesday, September 13th, they put that plan into action when they kicked off their U.S. tour at the Roseland Theater in Portland, Oregon.
Though the band has announced that they will be working on a new album in the near future, Tuesday’s show felt like a return to form as they worked their way through their catalog with an emphasis on giving fans what they had waited years to hear again. Following the big opener of “Howl,” the band contrasted it with “Handwritten” that featured bright guitar flourishes backing Brian Fallon’s Paul Westerberg-esque, punk-laced vocals. Easing into the familiar bass line of “Old White Lincoln,” the crowd went crazy as Fallon changed guitar mid-song and put sunglasses on. Following the high of that song, Fallon launched into the first of many banter sessions with the crowd as he shot the shit and seemed to be killing time or perhaps just shaking off those first show jitters. Luckily, he bounced back after chugging a beer and dropping into the dramatic “Mae” only to follow it up with the stomping guitar rocker “Wooderson.” One of the highlights of the set was “The Diamond Church Street Choir,” which kicked off with a slinky piano intro before launching into full-on Thin Lizzy mode. In between, Fallon joked about this show being a trial run for the rest of the tour and at times it did feel like that, though the actual musical performances were tight.
Despite the banter gaps that veered from Fallon’s thoughts on Seattle (the show was in Portland) to The Smiths, the band pushed on with one thundering rocker after another. “Blue Jeans & White T-shirts” was a dramatic and heartfelt moment with some of the best guitar shredding of the night, while Fallon tackled a double dose of Pacific Northwest history as he delivered a slow and emotional take on Mother Love Bone’s “Chloe” only to explode into a raucous punk rock rendition of Pearl Jam’s “State of Love and Trust.”
By the time the band got to “The 59 Sound” at the tail end of the set, the crowd was rejoicing. It was clear that the fans still need the Gaslight Anthem and we all know the world still needs rock and roll because there sure as shit isn’t enough of it in the mainstream these days. It was also clear that time hasn’t rusted the band’s sound, as their performance was tight and their songs still connected. Though Fallon’s in-between-song banter may have ran a little long at times, it didn’t take away from the kind of show that reminds you just how good guitar rock and a well-written song can be.
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He knew he was in Portland. He was talking about the next night and what he liked and didn’t like about that city. He told us that he liked us.
Lol yeah. I’m sure theses guys don’t tour for 6 years and then play their first show together and don’t know where they are… lazy and inaccurate writing