Settle The Feud
A Fiery Furnaces
B Beck
Fiery FurnacesBeck

Gaslight Anthem
Live

Gaslight Anthem Shine, But Don't Explode

Kool Haus

Toronto

on Oct 13 2009

Steve McLean (CHARTattack)

10/14/2009 3:28pm

3 comments

I hope Broadway Calls fans will forgive me for thinking that meeting a friend for a couple of Ontario microbrews at C'est What was a better way to spend the early part of Tuesday evening than seeing the Oregon pop-punk band. I'm sorry, kids.

But the Kool Haus was already pretty full when we arrived a couple of songs into Jesse Malin's set, and I had to take a couple of looks to make sure it was him since he's dyed his hair jet black in an attempt, I'm assuming, to look younger than his 41 years.

Malin has been a somewhat hit or miss musician for me over the years. I liked him as the frontman for glam-punk band D Generation in the '90s, but I found the music didn't age well and I've since given away the New York City group's three albums. I've enjoyed some of Malin's solo material, while other songs left me flat. I've felt the same way about the three previous times I saw him at Toronto's Horseshoe Tavern, but I was generally impressed with Tuesday's performance. "Broken Radio" and D Generation's "Degenerated" were the highlights of Malin's power pop and pop-punk set.

I wasn't nearly as familiar with Murder By Death, having only heard a few songs online. The Indiana quartet started promisingly with material that blended elements of punk, roots rock and psychobilly, but things hit a plateau pretty quickly and didn't go anywhere from there — and even cute cellist/keyboardist Sarah Balliet couldn't hold my attention. The rest of the band left the stage for a song so frontman Adam Turla could sing and play his electric guitar with no accompaniment. He should realize he's no Billy Bragg.

The Gaslight Anthem hit the stage 15 minutes past their scheduled 10:30 p.m. start time, but wasted no time in revving up the crowd with "High Lonesome." The quartet hail from New Brunswick, N.J. and the influence of another prominent state resident, Bruce Springsteen, is infused through their melodic, rootsy and soulful punk rock. Singer/guitarist Brian Fallon has performed with The Boss and he even looked the part at the Kool Haus in his jeans, white T-shirt and black leather jacket.

"Old White Lincoln" got the fans up front pumping their fists and raising their arms and pointing, and that didn't stop for "Even Cowgirls Get The Blues." Fallon noticed the love he was receiving and said Canadians were "the weekend" in comparison to fans the U.S., which he called "the week" (or maybe "the weak" might be a more appropriate spelling). I guess that means we like to party.

The Gaslight's Anthem second album, The '59 Sound, was one of my favourites of last year and was also a commercial breakthrough — reaching #70 on the U.S. sales chart and hitting #55 in the U.K. I was surprised that the title track, which is probably the group's best known number, was the sixth song in the set. Even if it arrived earlier than expected, the infectious cut was still tremendous.

The set list was much heavier on The '59 Sound than The Gaslight Anthem's 2007 Sink Or Swim debut, which was most notably represented by "Angry Johnny And The Radio" and then "1930" and "I Coulda Been A Contender" in the encore.

The Gaslight Anthem also threw in a cover of Robert Bradley's Blackwater Surprise's "Once Upon A Time," which was released as an iTunes-only bonus track with The '59 Sound. The hour-long set was rounded out by "Film Noir," "Great Expectations" and "The Backseat," while the encore also included "Blue Jeans & White T-Shirts" and the title track from last year's four-song "Senor And The Queen" EP and The '59 Sound's "Meet Me By The River's Edge."

I've read articles calling The Gaslight Anthem one of the best live bands around these days. While there was energy and I love a lot of the songs, I'd call that assertion an overstatement. I likened the performance to the quartet's music. It's not overly original, but very competent.

That's often enough, but it wasn't on Tuesday night. Perhaps my expectations were too high this time, but I'll definitely give The Gaslight Anthem another chance when they come back to town again after releasing their eagerly awaited new album next year.

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  • kidgotham
  • Thu, 10/15/2009 - 8:48am

I am not sure what show you were at, or whether you just watched the Gaslight Anthem from a bad spot, but they were great. Not as good as they were in London a few months ago, but they still had boundless energy. The entire band smiled for the duration of the show, and seemed humbled by the size of the crowd.

The Kool House is a terrible place to see a band, so perhaps you just had a crappy spot to watch.

Also, not to be an asshole, but "Degenerated" is a Reagan Youth song, and not a D-Generation song. The band did cover it for the movie Airheads, but it was not their song.

  • Avenue A
  • Thu, 10/15/2009 - 12:28pm

There'a about as much correct information in this editorial as there was courtesy among the Kool Haus concert goers on Tuesday night.

Jesse Malin's hair has been black since before D Generation, I guess he was also attempting to look younger when he was in his early twenties.  Also, they didn't play Broken Radio.  The set opened with Wendy and also consisted of Queen of the Underworld (from the Fine Art of Self Destruction), In the Modern World, Prisoners of Paradise, and Black Haired Girl (from Glitter in the Gutter), Leaving Babylon (Bad Brains cover on Jesse's album, On Your Sleeve), three new not yet released songs for his upcoming studio album, and finally Degenerated (yes, a Reagan Youth cover on the Airheads soundtrack and also on D Generations's "No Lunch".

Not generally a Murder by Death fan, it was undeniable that Adam Turla's solo cover of "Bang Bang (My Baby Shot Me Down)" was the most haunting and powerful moment of the night, reminiscent of the amazing version recorded by the wonderful Terry Reid.  We had the pleasure of being in thr first row, and one only needed to look around at the enraptured faces to see that the crowd was mesmerized.   

The Gaslight Anthem's set was incredible, the energy was exhilirating and the crowd was throwing the energy back at the band in a frenzied interplay of sweat, excitement and rock and roll.  This is the fourth time I have seen the Gaslight Anthem this year, including the prior night in Buffalo, and this was on par with the other three.  The Gaslight Anthem is hands down, one of the best live acts I have ever seen, and I have seen many, many live acts.  That being said, I find it hard to lend any credence to your opinion of the show since again, you are mistaken about the set list.  I Coulda been a Contender was not in the set at all. They did, however play We Came to Dance during the encore.  They also played Navesink Banks and I'da Called You Woody, Joe from Sink or Swim and Wherefore Art Thou, Elvis? from the Senor and the Queen EP. I'da Called You Woody, Joe received thunnderous applause from the crowd, and I would have coined that as the most "notable" representation of Sink or Swim, along with the encore of We Came to Dance.

My sole complaint about the show is the discourtesy of Canadian fans.  This being my fourth Gaslight show on this tour, I have NEVER witnessed such rude and inconsiderate fans.  I am a 5'1" female who arrived 1 1/2 hours before doors opened to have a great vantage point to watch the show.  Despite my petite frame, I have held my own in the front row and the pits for many years due to a combination of my own experience and the courtesy of other fans.  Normally, we can all have a great time, dancing, singing, and pumping our fists in the air.  This time, I was surrounded by males, at least a foot taller than me, who only cared about shoving and pushing their way to the front.  Apparently, what these people don't realize is that it's physically impossible to occupy the same physical space as another person.  After countless elbows to my head from people literally climbing over me to be the FIRST person, I began to realize that I could not enjoy the show.  Without being able to match the physical strength of most of the people around me, I had to brace my elbows against the barricade just to stay upright.  There is NO doubt that if I would have fallen, as almost happened many times, I would have been trampled and crushed.  In this position, I could hardly breathe, let alone move and dance and enjoy the music.  And no, my experience has not been at Norah Jones concerts, it has been countless rock and metal shows wrought with moshers and stage divers, and yet I have never before had to actually vacate my EARNED front row position.  We moved to the back during the 5th Gaslight song where we could dance, and breathe to our heart's content. 

Sure, the energy of the crowd may have impressed Brian Fallon, but he wasn't able to accurately judge the specifics from his vantage point, and I guarantee you, it was not what he meant by his weekend vs. week comment....which by the way, did not apply to "the fans", it was a general comment about Canadian society vs. American society and our different lifestyles.  What he couldn't have possible seen was the regrettable mob mentality displayed by the Canadian fans.  One on one, I have a genuine respect and admiration for the Canadian people, but if Tuesday's show was any indication, the group mentality is far from respectable or admirable.  The Americans may be the "week", but at least they are courteous and respectful of other's safety and the right to have a good time.

  • Maya
  • Thu, 10/15/2009 - 2:01pm

I have to agree with kidgotham... The Koolhaus is an awful place to see any band, especially a band like the Gaslight Anthem.  

A big part of their live appeal is the intimacy of their shows, and it's impossible to capture that in such a large venue that obviously was not designed with intimacy in mind.  I saw them at the Masonic Temple, Call The Office and the Opera House over two days, and the differences between the three shows were enormous.  The Call The Office show was probably the best I've ever been to -- the energy was unbelievable.

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