LIVE REVIEW: Gaslight Anthem / Chris Farren at Telegraph Building, Belfast

LIVE REVIEW: Gaslight Anthem / Chris Farren at Telegraph Building, Belfast
© Clair McAllister

“Chris Farren will perform soon,” read the enormous letters projected on to the side wall of Belfast’s Telegraph Building. Soon after, as he warned us he would, Chris Farren bounded out on to the stage, performed a lap of a large screen which also had the projected letters on it, and grabbed his guitar.

The American combines indie rock and pure wit in a way actual comedy acts could only dream of, backdropped by a screen of changing powerpoint style slides. “Guitar solo” appears at the appropriate time, “Applause” at another. With flashing lights on his guitar strap, bright nail polish and eye make up, it’s all part of the show and the crowd gets swept along in his wake.

LIVE REVIEW: Gaslight Anthem / Chris Farren at Telegraph Building, Belfast
© Clair McAllister

A highlight of the set is the lead track from his most recent album – a soundtrack to a film which doesn’t exist. The accompanying video projected on the screen was as much Austin Powers as James Bond, perfectly complementing the theatrical chaos of his performance.

As a solo performer with backing tracks and carefully timed slide show it would be easy to appear mechanical or predictable, but every second of Farren’s set feels instinctive, anarchic and liable to take a sharp left turn at any second.

His support duties are fulfilled when he jokingly reminds the crowd that they must stay behind after his performance for Gaslight Anthem, as too many other venues emptied following his perfect set and his pals had to play to an empty room. Belfast can be a tough place to get away with this sort of schtick but Farren surely won himself some new fans.

The last night of a tour can be a difficult one to judge, but from the very beginning of their set Gaslight Anthem showed they were in the mood to blow past the finish line rather than trickle over it. After a seven year hiatus, interrupted only by a tour in 2018 to mark ten years since the release of The 59 Sound, the band returned with a renewed vigour.

LIVE REVIEW: Gaslight Anthem / Chris Farren at Telegraph Building, Belfast
© Clair McAllister

Bolstered as ever by Ian Perkins on guitar and new addition Bryan Haring on piano, the New Jersey quartet sounded excellent throughout. Perhaps most noticeably the chemistry on stage seems to be back, marked by the return of Benny Horowitz’s infectious smile beaming out from behind the kit.

Musically the band is back on form. Handwritten, Blue Dahlia, Great Expectations, 1000 Years and Howl hit hard and Fallon’s vocals are powerful throughout, while Mae shows the softer side of his writing and the band’s versatility. Diamond Church St. Choir is introduced by a lovely bluesy piano/guitar jam between Fallon and Haring, the latter’s contribution lifting an already great song. Fan favourite Blue Jeans & White T-Shirts is ruined only by the insufferable habit of Belfast crowds talking through entire performances. The incessant rumble is painfully noticeable during quieter sections of songs, but completely out of the band’s control.

As with previous tours the set listing and sequencing at times feels odd. While every song is itself delivered brilliantly, there are times when momentum seems to build only to be dashed on the rocks by the following song. The decision to play a cover of Nick Cave’s ballad, Straight To You, three songs from the end and immediately after the anthemic highs of American Slang and Backseats illustrates the point. Of course, there’s push and pull with these things in every set but it seems a recurring theme with Gaslight Anthem.

The set also felt disrupted by Fallon’s habit of chatting to audience members near the front, leaving those further away clueless as to what is happening. A lot of his interactions are hilarious, like the brutal comparison of two signs made by fans to request a song. It’s a delight seeing him really enjoying himself on stage again, energised and enthusiastic. Too often though he heads off on tangents that only serve to loosen the band’s grip on the crowd as a whole. At one point there were shouts of “just play a song,” as those nearer the back felt a little detached.

They’ll also draw criticism from some fans who’ll bemoan the lack of songs from Sink or Swim, and relatively few from their breakthrough album, The 59 Sound. Those for whom Handwritten and Get Hurt are the favourite albums will have left delighted. After a seven year absence many fans would have been desperate to hear more from those earlier albums, but it’s a hard balance to strike and there will always be someone grumbling about a song not played.

LIVE REVIEW: Gaslight Anthem / Chris Farren at Telegraph Building, Belfast
© Clair McAllister

If you’re going to throw in a questionable cover towards the end of a set you have to have a song that’ll pull the momentum right back up. 45 is that song and the energy from it carried through to the undisputed crowd favourite, The 59 Sound. Extended with a blistering Fallon guitar solo and the sing along refrain of “Young boys, young girls, ain’t supposed to die on a Saturday night,” it was a fitting way to mark the return of a band many thought had called it quits long before their time.

Gaslight Anthem showed tonight that they have plenty left in the tank and while they didn’t tease anything from the upcoming sixth album, they’ll have done enough to whet appetites and rejuvenate a fanbase that hasn’t waned since their break in 2015.

 

Xsnoize Author
Daniel Lynch 40 Articles
Daniel is a freelance journalist and writer based in Belfast. He plays guitar in several bands and releases their music through his label, Tin Man Heart. Favourite bands - Thin Lizzy, Gaslight Anthem, Tom Waits and Ryan Adams Favourite Album - Elsie - The Horrible Crowes

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