The Gaslight Anthem | The Audio Perv
Posts Tagged ‘The Gaslight Anthem’
10 Dec

By Keeyahtay Lewis

The Gaslight Anthem have become one of the biggest bands in the world. Every show they play, especially in the Tri-State area, is a big deal, selling out quickly. Their three night stint at Terminal 5 in NYC 11/28-30 was no different. Luckily, I was able to check them out again on the first night of that, Wed 11/28.

NY’s own Laura Stevenson and The Cans opened the show. This 5 piece indie/folk rock act was entertaining to watch. Stevenson is sweet and cute on stage, and she surrounds herself with other talented musicians At one point one of them even played accordion I literally have never seen a band play accordion live. They sounded great, albeit maybe a little strange as the band opening for TGA, but in any event they were great and the crowd loved them.

It wasn’t long after Laura left the stage that The Gaslight Anthem took the stage. With big smiles and waves for everyone, the strapped on their instruments and started off with a track of their last album, Mae. Mae is a bit of a slower song off of “Handwritten:, it’s an absolutely beautiful track but it seemed like a strange way to open. Gaslight is known for high energy and they usually start with something rocking. They picked it up with the next two tracks: The ’59 Sound and The Diamond Church Street Choir. The crowd was pumped and on their feet.

At this point pretty much everyone knows who Gaslight is. That Jersey band who wears their influences on their sleeve without sounding like they are trying to copy anyone. Led by Brian Fallon on vocals and guitar, Alex Levine on bass, Benny Horowitz on drums, Alex Rosamilia on lead guitar and touring member Ian Perkins on rhythm guitar. Over the last few years of touring they have really become a super tight live band that sounds really great.

Brian is funny during the show, interacting with the audience. For the most part, the band is content to play and let him have the spotlight. Perkins and Rosamilia especially hang towards the back while they play. Levine comes to the front and rocks out for the kids closest to him from time to time, but Fallon is really the guy who does most of the interacting.

The set list was a pretty long one and it bounced around all of their albums. Favorites like “45,” “Too Much Blood,” “Here Comes My Man,” “American Slang,” “Biloxi Parish,” “Miles Davis and the Cool”…everything sounded pretty spot on. Again though, seeing them play a few times before they just seemed a little more subdued that night than I was used to. Still great, just a bit more mellow.

They played a whopping 6 song encore which started with a Matthew Ryan cover, “I Can’t Steal You.” Matthew Ryan played before Laura Stevenson (I missed this) and he came out to join Gaslight on this song. It sounded great. They finished off with “She Loves You,” “Mulholland Drive,” “The Queen of Lower Chelsea” and “Blue Dahlia.” They saved one of the absolute fan favorites for last, Great Expectations.

It was a fantastic night and a great treat for New York City. It is impossible not to be impressed when you see The Gaslight Anthem play and it is easy to see why they are blowing up. They have a tendency of popping up here and there in NJ and NYC, but right now they are on a short tour across the US. Making new fans everywhere they go, I have no doubt.

07 Dec

The Gaslight Anthem performed “Here Comes My Man” tonight on Conan.

Watch the video below and pick up the band’s album Handwritten on iTunes, Amazon MP3, CD

12 Nov

Los Angeles rock radio station KROQ 106.7 announced the lineup for the 23rd Annual KROQ Almost Acoustic Christmas, Saturday, December 8th and Sunday, December 9th, 2012. Tickets are available online at only on Friday, November 16th at 12:00pm PST. Presale tickets are available to KROQ Street Team members at



Proceeds from 23rd Annual KROQ Almost Acoustic Christmas to benefit the following charities:

Para Los Ni̱os РPara Los Ni̱os is a non-profit family service agency designed to raise at-risk children out of poverty and into brighter futures through positive educational
opportunities and support.

Al Wooten Jr. Heritage Center – Al Wooten Jr. Heritage Center provides a safe after-school environment where hundreds of boys and girls in South Central Los Angeles participate in tutoring, learn important social skills and are guided to succeed in school and enter college.

03 Oct

The Gaslight Anthem performed “Here Comes My Man” on the Tonight Show with Jay Leno.

Watch the video below and pick up the band’s album Handwritten on iTunes, Amazon MP3, CD

30 Jul

The Gaslight Anthem performed “45″ last night on Late Night with Jimmy Fallon.

Watch the video below and pick up the band’s new album Handwritten on iTunes, Amazon MP3, CD

24 Jul

With the release of their new album, HANDWRITTEN, on Mercury Records, featuring the Top 20 Alternative track “45,” The Gaslight Anthem premiered a new acoustic track yesterday on titled “Teenage Rebellion.” This exclusive non-album track is available only in the U.S. at iTunes. The release follows-up last weekend’s VEVO premiere of the video for the new album title tune, “Handwritten.”

The Gaslight Anthem will wrap-up their sold-out North American July tour tonight (July 24) with a homecoming date at New York’s Webster Hall, and on Friday night (July 27) will make a return appearance on NBC’s Late Night with Jimmy Fallon. The Gaslight Anthem will also be doing a livestream release day performance today at 3pm ET/12pm PT/8pm GMT – CLICK HERE TO WATCH. The next weekend (August 5), they will play Lollapalooza in Chicago. Starting September 9, The Gaslight Anthem will be opening for Chicago’s Rise Against on their month-long, 23-city tour of the U.S. and Canada.

It has been a marathon month of activity for The Gaslight Anthem leading up to the release of HANDWRITTEN (which streamed last week at On June 27, they played New York’s Ed Sullivan Theater as part of the interactive Live on Letterman webcast series, seen on and VEVO. The webcast coincided with their third appearance on Letterman. Tour dates began in San Francisco on July 5.

HANDWRITTEN, The Gaslight Anthem’s first album on Mercury Records, was produced by two-time Grammy Award-winner Brendan O’Brien, known for his work with Bruce Springsteen (Best Rock Album Grammy, 2002), Pearl Jam, Incubus, and many others. The track listing for HANDWRITTEN is as follows: 1. 45 * 2. Handwritten * 3. Here Comes My Man * 4. Mulholland Drive * 5. Keepsake * 6. Too Much Blood * 7. Howl * 8. Biloxi Parish * 9. Desire * 10. Mae * 11. National Anthem.

Prior to HANDWRITTEN, The Gaslight AnthemBrian Fallon (lead vocals, guitar), Alex Rosamilia (guitar, vocals), Alex Levine (bass, vocals), and Benny Horowitz (drums, percussion) — released three full-length indie albums: Sink Or Swim (2007, XOXO Records), The ’59 Sound (2008, SideOneDummy Records), and American Slang (June 2010, SideOneDummy). In the spring of 2011, they performed “Bring It On,” a track from American Slang, on Letterman.

Pick up HANDWRITTEN now on iTunes, Amazon MP3, CD

28 Jun

The Gaslight Anthem performed “45″ on the Late Show with David Letterman. The band’s Live on Letterman session was webcast earlier in the night.

Watch the “45″ video below and pick up the song on iTunes, Amazon MP3 and pre-order the album Handwritten

27 Jun

By Michel Dussack

This past weekend, Orion Music + More (Metallica’s curated music festival) took over Atlantic City’s Bader Field for two days of (mostly) heavy music, skateboarding, surfing, car shows, films, and even some horror (Kirk Hammett’s personal collection of horror memorabilia, that is). The festival seemed to be a great success, and during the two days there, I heard only positive things from the attendees. Even during the most brutal of pits that broke out, fans were eager to pick up anyone who tripped, and throughout the entire weekend there seemed to be a sense of comradery that overpowered everything else.

(credit: Matt Ellis)

Day one kicked off with a bang thanks to an aggressive set from Los Angeles based post-hardcore band letlive. (yes, the lowercase ‘L’ and period are included in the band’s name). While the entire band delivered a heavy set that sparked the slightest bit of moshing at 2:30 in the afternoon, it was vocalist Jason Butler that stole not only the show, but the allegiance of the crowd. Throughout their 45 minute set, he exhibited a confidence that is typically reserved for bands playing much later in the day. One such moment came in between songs, when it was possible to hear music coming from a nearby stage. Upon hearing the other band’s music, Butler screamed into the microphone “Yo shut the fuck up over there, don’t you see we’re trying to play a show?” His stage antics continued throughout their set and included climbing as high above the stage as he could and violently shaking the scaffolding that he was climbing on, running off the stage and trying to steal a golf cart (when he released that he couldn’t he resorted to throwing bags of trash out of the back of it) and smashing the clock that the festival crew used to keep time during the day. Indeed, letlive. set the bar high as the first band I caught of the festival.

(credit: Cambria Harkey)

The next band up was Lucero, who struck me as one of the more eclectic choices of the weekend. While the band does have roots in punk, they also have strong ties to the South and thus, country music. However, the crowd was indeed very receptive to the band, especially when they broke out a cover of Jawbreaker’s ‘Kiss the Bottle’ early on. As one would expect, when the band explained that the next song, ‘Women and Work’ was about whiskey, the crowd’s ears perked up and ate it up. Vocalist Ben Nichols has an extremely distinctive voice, and the rest of the band provided a fusion of heavy and country that is quite hard to put down in words. Overall, their set was great; however, I did miss the last couple songs of it to get a good spot for the next band taking the opposite stage.

(credit: Michel Dussack)

Toronto based punk band Fucked Up were next, and after vocalist Damian Abraham explained that it was a dream come true to play with Metallica, he jumped off the stage as the band opened with ‘The Other Shoe’ off their critically acclaimed album ‘David Comes to Life’. Damian made his way through the entire crowd during the show, not returning to the stage until after about 45 minutes of their hour long set. During this time, he allowed members of the crowd to sing parts for him, gave his microphone away while he jumped over a barricade to give high-fives to everyone in the handicap section back by the soundboard, and became the center of multiple mosh pits. In between nearly every song, he thanked the crowd multiple times with sincerity rarely seen in rock and roll. He seemed genuinely shocked that so many of the audience knew the words to the songs and, together with the rest of the band, delivered the best set of the day (besides Metallica of course).

(credit: Cambria Harkey)

As soon as Fucked Up’s set ended, the distinctive sound of Beastie Boy’s ‘Sabotage’ could be heard from the main stage, which meant one thing – The Gaslight Anthem would be taking the stage next. While the New Jersey based band delivered a fantastic set, it was also extremely hard to get into given the distance at which anyone without a Met Club wristband had to stand. Despite this, the band delivered a tight and impressive set which included hits such as ‘American Slang’, ‘The ’59 Sound’ and their newest single ‘45’. They were also the first band of the day that the majority of the crowd seemed to already be familiar with, in no small part due to the fact that they were essentially a local band. As soon as set closer ‘The ’59 Sound’ started, some of the crowd, myself included, began to slowly walk over to the secondary stage for Cage the Elephant’s set which was scheduled to start as soon as The Gaslight Anthem ended.

(credit: Michel Dussack)

Cage the Elephant delivered an hour long set that encompassed both of the bands studio albums, and lots of crowd surfing. Singer Matthew Schultz was unstoppable throughout their set, hardly pausing to take a breath after moving constantly during every song. The band seemed to be slowly winning over the crowd throughout the set, until the end, when nearly everyone in the crowd exploded in cheers during ‘Ain’t No Rest for the Wicked’. ‘Shake Me Down’ followed, and when it came time for the bridge, Matt let the crowd take over vocal duties for him as everyone sang “Even on a cloudy day” over and over despite there not being a single cloud in the sky. The band closed their set with the ferocious ‘Saber-Tooth Tiger’ as Matt climbed his way on top of the crowd, stood on outstretched hands, and threw himself back down onto the crowd. For the large portion of the crowd that only knew a handful of the bands tracks, this was certainly unexpected.

(credit: Cambria Harkey)

Modest Mouse was next up, and despite playing a set filled with great music, they were the most poorly received band of the day. The band’s general mellow vibe didn’t mesh well with the crowd who had been seeing much heavier sets the entire day. The only point in which the band seemed to silence the critics was during their hit ‘Float On’. For the few members of the crowd that were more familiar with the band’s music, ‘Dramamine’ and ‘Tiny Cities Made of Ashes’ served as set highlights. It’s a shame that such a great set was marred simply because the band skewed too far from the “typical” sound that people at the festival were used to.

(credit: Dave Mead)

Sheffield based indie rock band Arctic Monkeys followed, and the crowd reacted in a much more welcoming manner to them. Towards the front of the crowd, hundreds of fans who knew every song were clustered around the quartet. The band packed 16 songs into their hour set, including hits such as ‘Don’t Sit Down ‘Cause I’ve Moved Your Chair’ and ‘I Bet You Look Good on the Dancefloor’. Frontman Alex Turner was energetic and humorous throughout their entire set, particularly when he introduced drummer Matt Helders as the guy “on your girlfriend’s mind”. The band closed out their set with a powerful trio of songs – ‘Evil Twin’, ‘Brick by Brick’ and new single ‘R U Mine?’ and then it was time for the entire festival to head to the main stage for Metallica’s set.

(credit: Matt Ellis)

As soon as Ennio Morricone’s ‘The Ecstasy of Gold’ rang out over the PA system, fans knew that it was time for Metallica to take the stage. The band opened with ‘Hit the Lights’ before diving into one of their biggest songs – ‘Master of Puppets’. Everyone in the band sounded in top form throughout the night, and James Hetfield is second to none when it comes to fronting a band. Throughout the night he expressed waves of gratitude an appreciation to the crowd, and led numerous crowd chants and sing alongs. The band played five songs to start of the night before the real reason why everyone was gathered began.

The lights on the stage cut off abruptly and a video detailing the history of ‘Ride the Lightning’ began to play. When that video ended, the band ripped into a stunning version of ‘The Call of Ktulu’ and it became obvious that they would be playing ‘Ride the Lightning’ backwards, just as they had been doing for ‘The Black Album’ in Europe. When it came time for the band to play ‘Escape’, a track which had never been played live, there was a sense of tension on the stage. Hetfield remarked how the band had never played the song, something that the entire crowd seemed to already know, before beginning it. While instrumentally it sounded perfectly, Hetfield simply didn’t have the range to hit every note of the song perfectly. While it was amazing to hear live, especially considering it was the first time being performed ever, don’t expect for them to try it again.

The band continued through the album, before closing out that portion of their set with album opener ‘Fight Fire With Fire’. They didn’t stop there however, continuing on to play ‘Nothing Else Matters’ and close their main set with ‘Enter Sandman’ which featured countless fireworks shot off throughout the song. When it came time for the band to return for their encore, they did so with ‘Battery’ which caused the already large pits to double in size. ‘One’ followed and featured numerous explosions, pyro, and lasers. There were so many lasers in fact, that the band switched off the video screens during the performance, probably for fear of damaging their cameras. The band treated fans to one final song to end the night – ‘Seek and Destroy’ during which all the house lights were turned on and giant Metallica beach balls were dropped into the crowd. The audience took this song as their chance to dispel as much of their energy as possible, though some seemed reserved, knowing they would be doing this all again the next day.

27 Jun

Written by Emilia D’Albero, Photos by Michel Dussack

Those people who attended Orion Music and More last Saturday know that Bowling Green band Cage the Elephant and New Jersey natives The Gaslight Anthem can rock hard enough to draw thousands of people to their respective stages at Bader Field. But those people who arrived in Atlantic City a day early had the opportunity to see both bands perform at the House of Blues and to experience their raw power and energy a second time. Both Cage the Elephant and The Gaslight Anthem played phenomenal sets full of hits both old and new, incredible audience interaction, and inspiring enthusiasm from each and every member of the bands.

First to take the stage was A Place to Bury Strangers, an extremely heavy three-piece hailing from New York. They have an extremely unique stage presence, which compliments their extremely unique style of playing music. From the moment they walked out, they were shrouded in darkness; they had no lighting except for the occasional strobe placed strategically in front of them that went off during especially heavy moments of their songs. The combination of their very loud, very heavy guitar, thrilling bass riffs, and fast, rhythmic drumming already makes for an exciting performance, but what really makes A Place to Bury Strangers stand out is the way they interact with their instruments, each other, and the audience. Perhaps the most memorable aspect of one of their performances is how rough they are with their instruments; frontman Oliver Ackermann has no inhibitions about swinging his guitar around and lifting it high in the air just to let it fall to the ground, and bassist Dion Lunadon actually seems to enjoy smashing his bass guitar against the stage with all of the strength he can possibly muster.

A Place to Bury Strangers is a band that quite literally gives the audience their all- towards the end of their 30-minute set, Lunadon extended his instrument to a member of the audience, asking, “Do you play bass?” to which the boy promptly replied that he did, and Lunadon let him play bass along with Jay Space’s drum beats for a few minutes before retrieving his instrument. In its entirety, A Place to Bury Strangers’ performance was impressively loud and incredibly entertaining, and I am very happy that I got a chance to see them perform again at Orion Music and More on Sunday.

The next band to take the stage was Cage the Elephant, a rock band from Bowling Green, Kentucky, whose performances are just as fun, if not more fun, than A Place to Bury Strangers’. Headed by Matt Schultz, Cage the Elephant barreled through fast, heavy tracks like their opener, “In One Ear,” as well as calmer songs that their audience could sing along to, such as “Rubber Ball”. Matt Schultz is a madman on stage; he is constantly moving all around the stage, shaking his limbs vigorously, and just generally being difficult to follow around. Schultz’s energy is incomparable, and he is well known for his ability to extend that energy into his audience by crowdsurfing, screaming into their faces, walking on the crowd, and jumping into his audiences from high heights such as large amps and sometimes even balconies.

Cage the Elephant definitely keep their fans in mind when choosing their setlists; Friday’s was a great combination of their bigger hits and lesser-known songs, all of which got a very positive response from their fans. Songs like “Around My Head,”“Flow,” and “2024” were accompanied by the audience singing along, while heavier and faster songs like “Aberdeen,”“Tiny Little Robots,” and “Back Against the Wall “caused pits to break out in the middle of the crowd. Matt Schultz likes to talk to his fans between songs and especially after getting back onstage after crowdsurfing; after his first excursion into the sea of people, he took the microphone to let us know that the middle-aged woman standing behind me had attempted to unbuckle his belt, for which she felt no shame. At one point, he even encouraged the people sitting in the second level to jump off the balcony into the crowd, but later issued a disclaimer that he “doesn’t encourage it, but wouldn’t stop you if you did it.”

The pure energy that Cage the Elephant exudes onstage is outstanding and definitely contributes to their unique live performances, which have been a large part of them recently being shoved into the spotlight. Of course, the most anticipated moment of their set was when they played their biggest hit, “Ain’t No Rest for the Wicked,” during which the crowd sang along with every word, jumped up and down, and screamed their hearts out. Closing with the insanely fast and rhythmic “Sabertooth Tiger,” Cage the Elephant proved that they know how to rock and definitely how to satisfy a crowd that, for the most part, came with the intention of seeing the band that was supposed to perform after them.
Since Friday’s show was in New Jersey, it was not surprising that the majority of attendees were there to support The Gaslight Anthem, since they are a New Jersey band. As soon as they walked out onstage, screams and shrieks filled the House of Blues and did not stop until the moment the band left the stage. Opening with “Great Expectations,” The Gaslight Anthem made it clear that they were there to rock and to have fun with the people who came to support them. It seemed like every person in the venue was singing along with frontman Brain Fallon as his voice rang out flawlessly on songs like “Drive,”“Old White Lincoln,” and their latest hit, “45.”As excited as the audience was to hear a song like “45,” they went just as crazy for older songs, like “Wooderson” and “Angry Johnny and the Radio”. It was obvious that the people who came to the House of Blues that night truly loved this band; the energy level in the venue did not drop even a bit, even after The Gaslight Anthem left the stage between the main set and the encore.

The Gaslight Anthem’s encore was perhaps the most memorable part of the evening, because they played some big hits as well as a cover of “House of the Rising Sun,” which sparked the loudest sing-along yet. The Gaslight Anthem took the stage for their encore with even bigger smiles than they had left the stage with, which made it clear that they absolutely love what they do and how it makes their fans feel. The amount of passion in their 5-song encore performance topped their main set and encouraged the crowd to get even more rowdy and excited for the last two songs of their set, which just happened to be two of their biggest hits. Closing with “American Slang “and then “The ‘59 Sound,” the band showed the venue just how much they love their fans by putting their whole hearts into their performance and really giving it their all. “The ’59 Sound” literally shook the venue, and I was impressed by the dedication of band and fan alike, which made me very excited to see The Gaslight Anthem again the next day.

All three bands that played at the House of Blues on Friday night provided a wonderful warm-up for, as well a preview of, the coming weekend. Seeing these bands so energized and ready to take on Orion Music and More was inspiring; I can only hope that anyone who was at the venue for that show attended each band’s set during the weekend to support them even more, because they all certainly deserve it. It was a perfect pre-show and I am very happy that I was able to have the experience of seeing the bands in a more intimate setting before I saw them play at Orion Music and More.

07 Jun

The Gaslight Anthem premiered their new video for “45″ today. The song’s off of the band’s upcoming album Handwritten due out July 24th on Mercury Records. The band will also be performing at Metallica’s Orion Music and More Festival later this month before their headline tour in July. Check out the dates below the video

05 – San Francisco, CA – The Independent
07 – Portland, OR – Hawthorne Theater
08 – Seattle, WA – Crocodile
11 – Minneapolis, MN – Fineline
12 – Lawrence, KS – Bottleneck
13 – St. Louis, MO – Firebird
14 – Cincinnati, OH – Bunberry Festival
16 – Toronto, ON – Opera House
18 – Nashville, TN – Mercy Lounge
19 – Chapel Hill, NC – Cat’s Cradle
20 – Washington, DC – U Street
22 – Boston, MA – Middle East
24 – New York, NY – Webster Hall