The Gaslight Anthem
Special Guests: Emily Wolfe
Venue: O2 Academy, Glasgow
Date: 18th March 2024
Review & Photos: Dave Buchanan
New Jersey rockers The Gaslight Anthem have returned to the touring groove after releasing their first album in almost 10 years. Their popularity hasn’t faded one iota, however, as their packed schedule see’s them hit not one, but 2 dates here in Scotland before heading south of the border. Tonight’s show in Glasgow is completely sold out, and with only one support in tow, and a slightly later kick-off, the O2 Academy was nice and full by the time the opening act took the stage.
Emily Wolfe
I must admit, my knowledge of Emily Wolfe was pretty limited prior to this show. Turns out the Texan musician already has numerous albums under her belt, with her most recent release, The Blowback, being released in 2023. Tonight, Wolfe and Co. deliver a 45-minute set that leans mostly on that album, with a few oldies scattered in.
On the positives, this band can seriously PLAY! Drummer Johnny Radelat caught my eye instantly, with his fiery playing style and natural groove. Bassist Evan Nicholson might not have been quite as flamboyant in his movement, but his chemistry with Radelat and Wolfe was brilliantly locked in, giving the entire set an extremely tight feel. Emily Wolfe, though, wow…her fretwork is incredibly fluid, yet extremely well executed. Whether it’s blues, rock, indie or alternative you can just tell from the little nuances in her playing style that she’s been honing her craft for a very long time, and the confidence she has as a performer really shines tonight. However…the songs were a little hit-and-miss for me.
I didn’t know at the time which songs were from the new album, but you could definitely hear some songs had a bit of a harder edge. Those tracks I quite enjoyed; with the bluesy Glam Rock-vibe of Holy Roller and cover of The Slider (T. Rex), with added double neck guitar, both being standout monster tracks! The grungier, alt tones of Dead End Luck reminded me a little of Courtney Love’s band, Hole, which ain’t a bad thing, either. Unfortunately, some of the new material was a touch too much on the “dreamy” side for me, lacking a bit of fire, and the reverb-saturated vocal mix also made it difficult at times to hear the clarity in Wolfe’s tone. That aside, I can definitely see myself deep-diving some of that early material, and kudos to the trio for stepping up and trying their best to get this Gaslight Anthem-hungry crowd charged up 
(3 / 5)
The Gaslight Anthem
The New Jersey natives then take to the stage to a roaring O2 Academy, and launch into I Live In The Room Above Her, from new album, History Books. The album has only been out a matter of months, but the amount of enthusiasm the crowd projects back at the band would make you think it was a prime cut from the early days. It’s also instantly apparent that even with a hiatus in the rearview mirror, The Gaslight Anthem sound incredible! Fallon smiles from ear to ear, like he’s truly missed being rooted on the stage, with the rest of the band looking focussed, and bassist Alex Levine, in particular, feeling every note of it.
Arguably I Live In The Room Above Her into 1,000 Years might not be the most brisk of opening combinations, but when the punkier tempo of 1930 kicks in, you can feel the energy instantly lift in the room. They keep that momentum going with fan favourite Biloxi Parish and the highly anthemic The Patient Ferris Wheel, which keeps the liveliness burning through the crowd.
Frontman Brian Fallon sounds just as impressive live as he does on CD (do people still buy those?). His storyteller rasp soars above the driving rhythms of the band on Blue Dahlia and Old Haunts. They make it look and sound effortless, without the need for pretense or posturing, just pouring their hearts out on stage, channelling their collective energy into every chord and lyric.
I must admit, while I was looking forward to hearing the “classic tracks” from the band’s back catalogue, the material from History Books actually slots in very well to the set tonight. Spider Bites is surely a future anthem with a chorus as good as it has, and Michigan, 1975 provides one of many heart-wrenching ballads during tonight’s 22-song set. Personally, I think there was maybe 1 or 2 too many slower tracks tonight, which, at times, did slow things down for too long. However, The Gaslight Anthem know exactly how to pick you back up after a subtle moment, and tracks like I Coul’da Been A Contender and Mulholland Drive do exactly what is required of them – get that crowd jumping!
The final portion of tonight’s set is almost perfect! 45, The ’59 Sound and The Backseat are a trio of delights that are built for the live stage, and they deliver in spades. You can see each song resonate with the audience in their own powerful way, and a sense of camaraderie and connection permeates the room. To be honest, I think using one of those tracks as a closer would have been a bigger send off, but the band opt to go out on We’re Getting a Divorce, You Keep the Diner, which felt somewhat anti-climactic for me – brilliantly delivered by the band, unquestionably, but would have worked better earlier in the set rather than a finale.
With a passionate performance of unwavering authenticity, tonight The Gaslight Anthem continue to show why rock n roll will always be more than just a genre – it’s a way of life 
(4 / 5)
