Posts Tagged ‘the Gaslight Anthem’

Brian Fallon & The Howling Weather tickets

After sticking fairly close to his rock lineage on two previous solo albums, the Gaslight Anthem frontman threw himself into a new Americana direction on his third. It suits him. Local Honey is as warm and comforting as its title, full of hooks and narratives that draw you in like bears to, well.… Fallon opens the LP with a message to his daughter — “In this life there will be trouble, but you shall overcome,” he assures her in “When You’re Ready.” In the most Gaslight-sounding track on the record, “21 Days,” he stares down bad habits. Acoustic guitars and keys, even upright bass, frame most of the songs, and Fallon is perfectly comfortable without a loud amp behind him. Local Honey is the sound of getting older with grace and purpose.

Taken from Brian Fallon’s new album ‘Local Honey’ available now.

For a while, it looked like Brian Fallon was riding a wave to superstardom. The Gaslight Anthem, the New Jersey band he fronted, had graduated from playing dirty punk basement shows in New Brunswick to touring around the world in support of their breakthrough second record, 2008’s The ’59 Sound. By mixing their punk roots with driving, heartland rock influences, but also throwing in a little soul-searching tenderness along the way, The Gaslight Anthem tapped into a sound that was familiar—but which they also made very much their own. Even fellow New Jerseyian Bruce Springsteen wasn’t immune to their charms—not only was he a fan, he also shared the stage with the band numerous times, aiding their growing popularity.

And yet, despite—or partly because of—the success of his band, Fallon found himself struggling. He wasn’t happy. He didn’t like the amount of attention he was getting as a result of the group’s rising profile, and his personal life was falling apart. In 2015, just under a decade after the band was founded, they went on hiatus. And while the The Gaslight Anthem did reconvene for a brief tenth anniversary tour of The ’59 Sound, Fallon has been busy pursuing a solo career since the hiatus began.

While his first two solo records, 2016’s Painkillersand 2018’s Sleepwalkers, weren’t too distant musically from the emotionally charged, nostalgia-ridden heartland rock of his band, Local Honey is a more stripped-back and folky affair. With only eight tracks, it has the perspective and wisdom of someone who recently turned forty, who’s now a father, and whose rock ‘n’ roll dreams—dreams that were essentially forced upon him—no longer occupy the same space in his heart. It is, as he explains, a step in a different direction both musically and lyrically, but the new record also finds Fallon incredibly comfortable in his own skin as someone who is finally able to take stock of his life and what it means.

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Released March 27th, 2020

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“SLEEPWALKERS” sees Brian Fallon once again pushing timeless rock ‘n’ roll into the modern era, recasting British Invasion rock, first generation UK punk and American pop and soul into a near irresistible sound he’s dubbed “Heavy R&B.” Recorded earlier this year at New Orleans’ Parlor Recording Studio with producer Ted Hutt – the man behind the board for The Gaslight Anthem’s breakthrough, THE ’59 SOUND – the album is perhaps the strongest example yet of Fallon’s always adventurous artistry, with songs like “Forget Me Not” and the brass-blasting title track fit to burst with spirit and light, an intangible magic that draws listeners to the dance floor while also striking chords within their hearts.

“I haven’t had this feeling since THE ’59 SOUND,” Fallon says. “When I wrote that record, I was pure. I had no pre-conceived notions. I was following this thing and when it was done I knew it could stand against anyone.”

Known far and wide as singer/guitarist of The Gaslight Anthem, as well as The Horrible Crowes, Fallon made his long-anticipated solo debut with 2015’s masterful PAINKILLERS. The album – which includes the hit singles, “A Wonderful Life” and “Painkillers” – drew widespread critical applause upon its release, with Rolling Stone noting, “For a guy whose songs have always traded in the pains and pleasures of nostalgia, the Fallon of PAINKILLERS seems to have arrived at a newfound, forward-looking clarity.”

Fallon toured the world in support of PAINKILLERS, during which time the New Jersey-based tunesmith began considering what might come next. Once again, Fallon had a sound buzzing in his ear, a modern marriage of rock and soul with the hard edge of punk, ribboned with the “cool and kind of creepy” tones of the one and only Vox Continental, the distinctive organ used by some of his favorite artists spanning The Animals and Tom Petty and the Heartbreakers to The Specials and Elvis Costello and the Attractions.

“Believe it or not, I started taking piano lessons,” he says. “As a professional musician, you think, well, taking lessons seems weird, but then you remember there’s still a world of things you don’t know. I was okay with the idea that I didn’t know anything about playing piano so I was able to really learn. And that opened up whole new worlds for me.”

Despite his new skill set, Fallon was still somewhat stuck, unable to access the part of himself necessary to truly go deep in his songcraft.

“It seemed like I had all the music in the world, but couldn’t find the melody,” he says. “The brakes were on. The muse had left the building. I was really struggling to get songs because I was still searching for something. I finally had to let go, I had to stop trying to control it so much and just tell the truth. Once I did that, once I let go of any preconceived notion of what it should be, that’s when it all came out.”

Fallon knew he had the musicians needed to back his hard R&B in The Howling Weather – guitarist Ian Perkins, bassist Nick Salisbury, and drummer Dave Hidalgo – but the right studio partner was key to truly nailing his sound and vision. He decided to reach out to an old friend in Ted Hutt (Old Crow Medicine Show, Dropkick Murphys), with whom he previously collaborated on The Gaslight Anthem’s landmark THE ’59 SOUND and AMERICAN SLANG LPs as well as The Horrible Crowes’ ELSIE.

“I thought, who’s going to understand what I’m trying to do,” says Fallon, “and not try to correct it. I thought, there’s nobody who loves what I love, the British rock, the R&B and soul music, there’s nobody who understands this music better than Ted. And no one draws the best out me like Ted. He pushed me hard on these songs, it was like, you’ve got to dig for this. He knew what I needed to do and how I needed to get there. It was great to be pushed liked that by someone you know cares for you.”

Fallon began writing about his real life, his immediate family and closest friends, baring himself to the bone freely and unguarded. The celebratory sound of songs like the opening “If Your Prayers Don’t Get You To Heaven” belies the heart of darkness that beats within Fallon’s always frank songwriting, the fist-pumping choruses and body-rocking rhythms casting light against richly complex lyrics born of a recent “conversation with mortality.”

“I’m not the same kid that wrote THE ’59 SOUND,” Fallon says. “Things are very different now and I think I sort of lost my place, like what do I write about now? I don’t want to write songs about taxes. You have to find your center and just write about where you’re at now. I decided to just write about me and my friends and my family, I’m going to write about the things that I know right now.”

“Proof of Life” and “See You On The Other Side” provide potent bookends to SLEEPWALKERS, offering a glimpse of Fallon’s trepidation and desire to confront his own naked truth. “Forget Me Not,” the album’s first single, is an impassioned rush of ‘60s pop, all urgent guitars and giddy handclaps, though Fallon admits the glorious energy disguises a badly broken heart.

“I was thinking how every song doesn’t have to be so serious,” Fallon says. “It can just be fun. It can just be a song that I would want to play live. ‘Forgot Me Not’ came out in just a couple of minutes and actually ended up being pretty serious – it seems my subconscious had other plans.”

Recording SLEEPWALKERS in New Orleans marked the culmination of a longtime dream of Fallon’s, getting to spend real time in the Big Easy and truly absorb the culture. Indeed, the special musical energy of the Crescent City infused the album with an even greater connection to the swinging garage R&B he and the Howling Weather were cooking up in Parlor Recording. “Etta James” is both heartfelt paean to the legendary singer and a universal celebration of pure artistic passion in the face of great personal difficulty while the title track conjures the soulful spirit of Sam Cooke with big brass from the one and only Preservation Hall Jazz Band – remarkably, the first time Fallon has incorporated a horn section into his polyglot approach.

“At first I was very against it,” Fallon says, “ but I said, you know what? I’m just going to go for it. Full on. So I had known Ben Jaffe – the Preservation Hall creative director – and the guys a little bit, we did a song together once in Asbury Park, and they invited me down to hang out and play some music. They were so cool, I said, hey, we’re recording right down the street, you’d be great on this one song I’ve got. They came down and they just started going full throttle, they just went for it. It was done in about a half hour but that half hour was mindblowing. Just this incredible experience of hearing your own music be birthed and come to life. It was insane.”

As emotionally powerful as it is musically exultant, SLEEPWALKERS is Brian Fallon at the very top of his game, now as ever pushing and kicking the rock ‘n’ soul sounds he grew up on into the future.

“I think my job, in one sentence, is to carry on the tradition,” says Fallon. “That’s all I’m doing. All I’m trying to do is take what I’ve learned, give it my own spin, and keep it living. Keeping the pulse going.”Brianfallon sleepwalkers cover final 2

New single “Forget Me Not” Available Now: Album Sleepwalkers Available February. 9th, 2018!!!

It’s the album that cemented New Jersey’s The Gaslight Anthem as one of this generation’s biggest bands and now they’ve announced shows to celebrate its 10th anniversary. Performing the album in its entirety, The Gaslight Anthem are set to play London, Glasgow and Manchester in July

The band have announced that they’ll be heading to the UK and Ireland this summer to play seminal album The 59 Sound in its entirety.

The Gaslight Anthem will be returning from hiatus, and making things even more exciting, by performing The ’59 Sound in full. Before that, Gaslight Anthem frontman Brian Fallon is releasing his new solo album Sleepwalkers. The New Jersey rockers announced their reunion earlier this month to celebrate a decade since the record was initially released.

Check out the dates in full below.

  • 20 – London, UK – Eventim Apollo Hammersmith (w/ The Flatliners, Matthew Ryan)
  • 23 – Dublin, IR – Vicar Street (w/ The Flatliners, Matthew Ryan)
  • 24 – Glasgow, UK – Barrowland (w/ The Flatliners, Matthew Ryan)
  • 25 – Manchester, UK – Eventim Apollo (w/ The Flatliners, Matthew Ryan)

Last year, Gaslight Anthem singer Brian Fallon spoke about his second forthcoming solo album and how he has taken the sound in an altogether darker direction.

The Gaslight Anthem

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Brian Fallon of The Gaslight Anthem plans for his debut solo album. Painkillers was released in early 2016 via Island Records in the United States and EMI records in the United Kingdom. The album was recorded in Nashville, TN, in collaboration with Butch Walker (Taylor Swift, Frank Turner, Keith Urban).

“I’m overjoyed to be making this solo record,” says Fallon. “And I can’t wait to go out on the road with the new songs I have.

Fallon  heralded Painkillers with a select series of 2016 live dates, accompanied by a stellar combo comprised of The Gaslight Anthem guitarist Alex Rosamilia, The Horrible Crowes’ Ian Perkins and Molly & The Zombies bassist Catherine Popper (Jack White, Ryan Adams & The Cardinals, Willie Nelson), among other special performers. .

The Gaslight Anthem announced plans this summer to go on an indefinite hiatus following a massively successful European tour that culminated in a remarkable headline show at London’s Shepherds Bush Empire and emotional appearances at the UK’s legendary Reading & Leeds Festival.

 

Brian Fallon specialized in anthemic heartache with his band the Gaslight Anthem, and his new song “A Wonderful Life” suggests he’s staying the course on an upcoming solo album. For the second straight year, one of the best of the Springsteen bandleaders stepped out for a great solo album. In 2015, it was Craig Finn of The Hold Steady; this year Brian Fallon ex of Gaslight Anthem reaches for his moment and makes an honest stand with Painkillers. And like Finn, it turns out that Fallon’s earnest narratives thrive with less instrumentation around them.

Featuring a rock-solid beat topped with growling electric guitars, Fallon’s hoarse, expressive voice is the centerpiece as he sings with a yearning edge about wanting a meaningful existence. “‘A Wonderful Life’ was my expression of how I feel, and how some people I know feel,” the singer and guitarist says by email. “We want our lives to matter to those around us. We want our time here to have positive impact and not simply to pass by. Even if that costs us.”

The song comes from “Painkillers,” which is Fallon’s first solo effort after five studio albums with the Gaslight Anthem since the band formed in 2006. The New Jersey group announced a hiatus earlier this year. Fallon is also half of the rock duo the Horrible Crowes, and a member of the Americana group Molly and the Zombies with bassist Catherine Popper (Jack White, Ryan Adams) and Scissor Sisters drummer Randy Schrager.

Popper plays bass on “Painkillers,” which also includes drummer Mark Stepro (Ben Kweller, Jackson Browne) and guitarist Butch Walker, who produced the album. “Painkillers” released on Island Records, and Fallon will start a North American tour.

 

New Jersey punk band, The Gaslight Anthem, has shared the music video for their song “1,000 Years” off of their latest album, “Get Hurt”, which you can check out below. The video captures the band live in concert at Minneapolis’ legendary First Avenue music club (you know, the one where Purple Rain took place) and features plenty of close-up shots of their enraptured audience. It’s nothing remarkable, but it fits in well with the band’s unflashy, grounded aesthetic.1,000 Years” is the third music video to be released from Get Hurt, following “Rollin’ and Tumblin’” and the album’s title track. Get Hurt was released in Aug. and was the Gaslight Anthem’s fifth studio album overall, their first since 2012’s “Handwritten“. A B-sides compilation, appropriately titled “The B-Sides, was also released earlier this year.

“I was trying to do something very different with the record,” frontman Brian Fallon said about Get Hurt in an interview with Red Bull, “So I was trying to see what was out there as far as what we hadn’t done before. It wasn’t really like a specific direction I was looking for, the only real direction was what kinds of directions were untraveled by us: humanity, life, daily life…We don’t really think, we just write and it is what it is.”Get Hurt was The Gaslight Anthem’s first album with British producer Mike Crossey, who’s most famous for working with the Arctic Monkeys. “He is open to sound and experimenting and no idea is off the table,” drummer Benny Horowitz said about Crossey. “If you have an idea, he’ll try it, see how it sounds, and maybe even put it in…He uses technology in a very organic way

 

The Horrible Crowes official video for “Ladykiller” directed by Kevin Custer. From the album, Elsie The Horrible Crowes first single “Behold The Hurricane.” The Horrible Crowes are Brian Fallon of The Gaslight Anthem and long time friend Ian Perkins’ “lounge friendly” tip of the hat to artist like The Afghan Whigs, Tom Waits and PJ Harvey.what are this band doing ?