Another good old-fashioned double-header for these old bones to contend with, kicking off with a Sunday jaunt down to Bristol for Brian Fallon, vocalist of those strident Noo Joisey blue collar flag-wavers The Gaslight Anthem, on his first solo jaunt promoting his debut solo album in “Painkillers”. Truth to tell, this one being billed as “Brian Fallon And The Crowes” had captured my attention somewhat, given that the man had previously recorded a quite splendid, more stripped back and introspective album with a “side project” as The Horrible Crowes (2011’s “Elsie”) in conjunction with his GLA roadie Ian Perkins, but to my understanding had never toured the damn thing. So I was hoping that this set would eschew any delving into his rockier, more dynamic GLA canon in favour of a sprinkling of “Elsie” material over his more alt-country/ Americana tinged new album material. Here’s hoping, but either way an intriguing night was in prospect...
A
slippery early evening drive down the M4 and a parking-mare
double-whammy (firstly my usual level 5 entrance to Trenchard Car Park
being closed – apparently until 2017! – and then the machine eating
my money, prompting an irked call to the attendant) meant I actually
hit the venue at 8 in an uncharitable mood, not helped by finding the
venue stuffed full early doors as well... bah, what an old mizzog I
am...! Not feeling kindly disposed towards support
acts then, but I have to say opener Jaret Hart turned me around. A
soloist (and also a member of Brian’s backing band tonight), he played a
gravelly-voiced set of bleeding-raw alt-Americana not too dissimilar to
tonight’s headliner, with tinges of the honest
emotiveness of Dashboard Confessional and a nice line in repartee (on
selfies, and the evident debt he owes to Rancid for his music). Nice
stuff, and preferable for me to main support Good Old War; another
acoustic act, this being a two-piece (voice and one
guitar) clearly in thrall to a more 60’s harmonic folksy vibe, they
came across like a whimsical Simon And Garfunkel. Diverting
(particularly the vocalist’s shape throwing) but wispy, insubstantial
stuff overall.
Kept
my usual stage left spot for this busy one – surely a sell-out on the
door tonight – as the lights eventually dimmed and, unheralded, Brian
Fallon and his 6-piece Crowes took the stage at 25
to 10. They kicked off with a couple of the more dynamic cuts from
Brian’s solo effort, the bouncy country of “Red Lights” and the more
strident, fist-pumping “whoa-oh” soaring chorus of “Rosemary”, proving
you can take the boy out of Gaslight, but you...
aaah, you know... Then we were treated to a lengthy and
entertainingly bizarre preamble from the man, taking in compliments
about Bristol, a critique about coffee around the globe and some odd
comparisons to crack cocaine and hair growth (“I used to
drink black coffee because I thought it would put a beard on my
face!”), rounding off with a discussion on fellow Americana artiste
Chuck Regan’s fishing habits! Strange!
This
was actually typical of tonight’s show, as Brian treated us to a
relaxed, open and inclusive performance (“don’t worry, there’s some
songs included in this whole thing!”) and thankfully the
set consisted solely of cuts from “Painkillers” and “Elsie” (hooray!).
So the sombre late night funk of “I Witnessed A Crime” bookended nicely
with a passionate “Painkillers”, before another discourse, this time on
New Orleans and witch gender preference (“I
guess I’m not an equal opportunities witch guy!”) and a splendid
subsequent “Sugar”, which was a U2 “Joshua Tree” esque parched early set
highlight.
After
a lovely, touching mid-set double of newies “Honey Magnolia” and “Steve
McQueen”, bare and tender acoustic ballads both, and a more anthemic “A
Wonderful Life”, I confess the set thereafter
trod water a little for me, before happily roaring back with a
vengeance, with a growling, deliciously discordant “Mary Ann”, the
spooky keyboard refrains giving it some chilling New Orleans voodoo
licks. “Crush” was another highlight with some angular and
deliciously circulating and descending hooks and riffery, but the best
was saved for last; “Behold The Hurricane”, the centrepiece of “Elsie”
and possibly one of Brian’s best ever songs, straddling both the epic
and introspective, with a lengthy and discordant
crescendo a thrilling punctuation to an overall excellent set; just
what I’d hoped for from tonight, and how!
Straight
off after taking a bow, no encore; so I mulled around, eventually
procuring the last set-list and a quick chat onstage with one of the
Crowes, who mentioned they’d be loading up shortly
if I wanted said list signed. So, I hung around a short while
afterwards, my persistence not being put off by stewards claiming the
band wouldn’t be out until 1 a.m (yeah, right), and sure enough, at 20
past 11, my onstage mate popped out for a quick chat
and a signature, promptly followed by Mr. Fallon himself for the same! A
gregarious and softly spoken chap, I enjoyed a quick conversation and
pic with The Star Of The Show before heading off for a late and equally
sodden drive home. As I mentioned, just what
I’d hoped for from tonight. Top show, Mr. Fallon, Sir!
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