The Gaslight Anthem – Get Hurt

The Gaslight Anthem

The Gaslight Anthem


Get Hurt is the fifth studio album by American rock band The Gaslight Anthem, released in the UK on August 11, 2014, through Virgin EMI, and in the United States on August 12, 2014, through Island Records. It is the first full-length studio album since the band’s 2012 release, Handwritten, and marks their first album on Island Records, which absorbed the band and its previous label, Mercury Records. Produced by Mike Crossey and inspired by vocalist and guitarist Brian Fallon’s divorce from his wife of ten years, the band was influenced by artists whose albums represented “career shifts”.


The Gaslight Anthem isn’t a punk band anymore. They’ve gone lengths to shed that label since 2010’s American Slang introduced them to a wider mainstream audience. Frontman Brian Fallon traded screams for croons, and song tempos decelerated as the production got cleaner. The band cited an appetite for new sounds and stylistic experimentation, but hardcore fans felt betrayed. Gaslight, after all, only began distancing themselves from folk punk after corporate behemoth Universal Music Group started writing the checks. Their first release for the conglomerate, 2012’s Handwritten, was steeped in alt rock clichés and neo-Springsteenian tropes, hardly resembling the band that dropped The ’59 Sound.

Musicians can’t be faulted for change. Songwriters mature; people get tired of hearing the same thing over and over again. But, Handwritten sounded like it was puppeteered by producers. The layers of vocal overdubs, the lush keyboard backdrops, the perfect guitar tones: It was as if the Gaslight Anthem were being molded into Universal’s answer to the Foo Fighters, like the bigwigs saw Wasting Light at the top of the charts and said, “Oh, people still like rock music. Let’s do that.” Too often have the majors ensnared beloved indie bands and turned their music into commercial pap. A band might think they have control over the creative process, but do they really? When the money talks, does creativity even matter anymore? Does Stockholm syndrome set in?

In the case of The Gaslight Anthem, the answer is an unfortunate and resounding yes. On their fifth studio LP, Get Hurt, the quartet wander further into the realm of radio rock, evoking all the trite Mutt Lange-isms that come with that territory. Opener “Stay Vicious” actually pulls this off with its pounding metal intro and melodic verses, a total Def Leppard transition in the best way. But, man, are there a lot of overdubs on this album. Every instrument sounds like it was tracked 12 times, including Fallon’s vocals. Somebody (probably producer Mike Crossey) got crazy with the background vocals. Where there should be rests in the melody, spaces for Fallon to take a breath before singing the next line, background vox are stacked to the point of annoyance. The production is excessive but somehow sterile — a dealbreaker for Get Hurt, which already suffers from some loudness compression issues.

That’s all semantics in the face of the songwriting, which isn’t strong enough to overcome the album’s production. When Fallon told Rolling Stone that the album was “completely different than anything we had ever done before,” he was right: Forget what you know about The Gaslight Anthem. Every track here differs from the one before it. The title cut apes The National; “Rollin’ and Tumblin’” is post-grunge (in the worst way); “Red Violins” goes country. The diversity is admirable, but it makes for a disjointed record, and it’s not as if The Gaslight Anthem perform each of these varied styles exceptionally well. Fallon’s lyrics remain poignant and earnest, but it’s hard to concentrate on them with Crossey triggering so many instrumental flourishes.

Change can be good, even necessary. Change can also be awkward, as is the case with Get Hurt. The genre experiments don’t work, and the overblown production presents these efforts poorly, never adapting to whatever stylistic side road the band is going down. Get Hurt sounds like The Gaslight Anthem trying to figure out what kind of band they want to be. One thing is for sure: They don’t want to be the band they were before signing on that dotted line.

Essential Tracks: “Stay Vicious”

Watch The Gaslight Anthem ‘Get Hurt’ Official Video


Watch trailer for The Gaslight Anthem – Rollin’ and Tumblin’ Trailer



The Gaslight Anthem “Get Hurt” available 8.12 Pre-order today:

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Gaslight Anthem “The Queen of Lower Chelsea” Live at TURF 2014 (Toronto Urban Roots Festival)

PREMIERE : The Gas Light Anthem’s New Single ‘Get Hurt’

The Gaslight Anthem's Youtube Channel

The Gaslight Anthem’s Youtube Channel

Not long after 2010’s Handwritten reached the Top Five in the U.S., U.K. and Canada, the Gaslight Anthem returned to the studio intent on progressing, attempting to shake up their now successful sound. The resulting album, Get Hurt, will be released August 19th on Island Records, and here you can listen to its slow-building lead single, also titled “Get Hurt.”

“With Get Hurt we wanted to see where else we could go with the band,” frontman Brian Fallon tells Rolling Stone. “We thought it was time to change things up a bit. The song itself is similar to the feeling of a wreck you see coming, but long past the point you can avoid it.”

Earlier in the year, Fallon spoke more about the inspiration behind the new LP: “For this record, I went back and studied any band that had changed: the Stones, the Beatles, U2, Frank Zappa, Pink Floyd, all those bands. I was looking at any band that was one thing and then became something else. How did they do it? Did they do it overnight, or did they do it in stages? I wanted to figure out how far you can go without pissing people off.”


Voodoo Music Experience 2013 New Orleans: Top Acts and Photos


Voodoo Festival Gallery


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Maybe the vibe resulted from placement at the end of the major music festival season, or perhaps it was a true reflection of the Big Easy lifestyle – in any case, New Orleans’ Voodoo Experience, held Nov. 1-3 in City Park across only four stages, felt like the most laid-back of this year’s multi-day events.

It was also one of the most diverse – continuing its tradition of mixing popular acts with NOLA locals – for better or for worse, depending on the day’s scheduling. Friday put Preservation Hall Jazz Band, Macklemore & Ryan Lewis, and Pearl Jam back-to-back on the main (Le Ritual) stage, which makes some sense after realizing that the latter acts are Seattle-based homies.

But Saturday had Paramore opening for Nine Inch Nails (loathing loomed large amongst the tirelessly waiting front ranks of NIN super-fans), and Sunday positioned Kid Rock before the Cure, creating a strange goth-versus-good ol’ boys hodgepodge in the evening’s final hours.

Yet, to the organizers’ credit, the eclectic blend above all reflected how the bash has set itself apart from other mainstream festivals while successfully extending the city’s Halloween tradition, year after year. As fest lineups and production elements have become increasingly homogenized over the last few years, Voodoo festival has learned to wear many masks.

And, for its 15th consecutive run – with music, local food, and art that evoked equal parts kickback and outrageous party – the event consistently delivered more treats than tricks.


Pearl Jam

Team Gleason: Former New Orleans Saints player Steve Gleason, now confined to a wheelchair after battling ALS for several years, introduced the band Friday night. Guitarist Mike McCready donned a “Defend Team Gleason” T-shirt, while Eddie Vedder mentioned that Gleason wrote the setlist and was “a member of the band.” If Gleason really was responsible for those runs of “Jeremy” and the set-closing “Yellow Ledbetter”, the Voodoo crowd has a lot to thank him for.

Seattle love, ya’ll: After a comical Q&A where Vedder polled the crowd on how many people had been arrested in New Orleans (Vedder raised his hand) and how many thought they’d get arrested that night, the frontman suggested that fellow Seattle artist Macklemore (whom I spotted chatting with an exuberantly complimentary Vedder backstage after his show) would foot the bill for bail. Or, at least according to the Pearl Jam vocalist, he’d “give you 10 bucks to buy something at the thrift shop.” Here’s his number, according to Eddie: “206-938-840…” – one digit short, man!

70I left NFG a little early to get a good spot for The Gaslight Anthem. I used to listen to the band exclusively on Wednesday nights when my friend and I “studied” AP Calculus, and after many spins, and much deliberation, The Gaslight Anthem has earned a spot among my favorite bands of all time. The band did a great job with choosing its setlist, even playing a new track, “Halloween” for the crowd. Midway through The Gaslight Anthem, the sun began to set and the crowd began to thicken for Paramore—one of the most anticipated events of the night, fans were obviously ready for Hayley Williams and company to take the stage. This anticipation certainly wasn’t unwarranted—Williams brought a killer performance filled with crowd participation.

relevantpoliticsRelevant politics: Vedder took time to bash BP for spilling oil into the nearby Gulf of Mexico and mentioned that “Southern Hand” was about the “rash of overdoses in the last six months … since they legalized marijuana in Seattle,” which, according to bassist Jeff Ament, is “obviously a work of fiction because that never fuckin’ happened before.”

And they covered two Mother Love Bone songs? Yep – another heavy dose of Seattle love that opened the encore, likely thanks again to Gleason, who hails from neighboring Spokane.


He’s My Brother She’s My Sister

It began like any other neo-folk outfit… Stand-up bass, a little lap slide guitar, and a quirky drummer backing a male/female vocal duo. But, a few songs into its Saturday afternoon set, the group added a marimba player and, after a couple more songs, an impressive trio of highly harmonic male backup vocalists from tourmates Song Preservation Society. These carefully added layers of collaboration were key to their galvanic buildup.

How about those Edward Sharpe costumes? I’m mostly kidding, but with the boy-girl vocal juxtaposition of actual brother and sister Rob and Rachel Kolar to fill out their hippie-folk sound, there’s a striking sonic semblance to the interchanges of Alex Ebert and Jade Castrinos.  That said, these guys actually wear shoes.


Tap shoes, actually. Percussionist Lauren Brown functioned as their “secret weapon,” drawing enormous applause and adding a good bit of swagger with her tap-break (she stands on a drum the whole time) on “Clackin’ Heels”.

“C’mon, conjure it Voodoo.” One of the most creative and relevant sing-along invocations all weekend.

But seriously, Edward Sharpe was there in spirit. The marimba player – also Rachel’s beau and father of her unborn child – was Orpheo McCord from the Magnetic Zeroes.


Beats Antique

First off, Zoe Jakes. With elaborate costumes that ranged from a more Middle Eastern take on Princess Leia in Jabba’s palace, to Queen Elizabeth in a bikini, to a mythical fairy, the fluidly moving belly dancer was undeniably the centerpiece of the Oakland-based trio’s Sunday night set. It was all I could do to peel my eyes away and check out the graphics on the screens behind her.

Most impressive: that Les Claypool bit. The Primus frontman didn’t show up in the flesh, but his vocals and slap-bass thrashing could be heard on the song “Beezlebub”. And, his likeness could be seen in all its pseudo-horrific glory on the stage-spanning screens as they portrayed a captivating claymation sequence, with Claypool transforming into and melding with a series of gruesome monsters.


That other dancer doing the striptease: Apparently Jakes has an accomplice – her name got lost in the sea of cheering voices – who didn’t strip bare, but got pretty damn close. As drummer Tommy Cappel and multi-instrumentalist David Satori created a whirlwind of blissfully percussive chaos, the dancer shed layer after layer (at least a dozen) of jumpsuits until all that was left was a silver leotard. All the while, a gold-suited man wearing a fox mask groveled and hopped around behind her. I didn’t understand it, but my brain told me it was cool.

Was that a banjo making that sound? Yes, it was. Satori’s deft strumming was a fine compliment to the unending wub-wub emanating from his MPC. This one took the cake for musically eccentric electro – sorry, Big Gigantic.



This guy doesn’t even have a Wikipedia Page… let alone a full album. Still, his Saturday afternoon performance was one of the wildest and most gripping of the fest. At one point, the artist born Jordan Cook was thrashing about with such abandon that he snapped his guitar strap and had to take a seat at the stage’s edge to prop his guitar up while nailing one-handed hammer-ons and wailing into the mic like Chris Cornel with his free grip.

“Somehow we ended up recording new music at Ani DiFranco’s house last night.” OK, that’s weird, but also cool. Especially if it helps you put out a full-length album sometime soon.

Apparently it also inspired the use of an electric mandolin: After Cook told his DiFranco story, he revealed that he’d written a song called “Mandolin Song” there. While the title lacked inspiration, Cook made up for it by absolutely shredding on the thing – which looked like a tiny Fender Strat with uncut strings as scraggly as the man’s hair – for a couple more tunes in lieu of his usual six-string.



Why all the black, Madeline? It’s no secret that the duo’s new album, Static, was written after and inspired by Madeline Follin and Brian Oblivion’s breakup, so it seemed only appropriate that Follin should don all black – dress and stockings – with matching nail polish. Her new “dark” look gave the much heavier new tunes an extra visual kick that helped Cults dominate the enormous main stage on Saturday.

Trippy video treatments: Good call. Cults was one of the only bands that used spliced video treatment, which consisted of some psychedelic dots and waves layered over shots of the group. Aside from Follin’s charming grab-the-dress-by-the-hem dance, they didn’t move much, so the enhanced visuals helped immensely.

Caught ya cheesin’: Though Follin and Oblivion are no longer a couple (those are both kinda doom-ful names, huh?), it was reassuring – especially as their sound has developed into something far more robust, impactful and likely to last – that they would still flash each other slyly satisfied grins at moments when the crowd got swept up in the music.


Matt & Kim

The cure for the tired fest-goer: No, not the Cure. Though Robert Smith & Co. did play convincingly – deviating from setlists of other recent fests, like ACL – to close Sunday, they were more like the comedown after Matt & Kim transformed one of the weekend’s largest crowds into a non-stop dance party beginning with drummer Kim Schifino’s impressive ninja jump-kick onto the stage.

“We’re like the Evans show: we take a lot of dance breaks.” Matt & Kim’s tunes are unabashedly pop, but hip-hop snippets laced throughout – including Ludacris’ “Move Bitch (Get Out the Way)”, Drake’s “Started From the Bottom”, and DJ Khaled’s “All I Do is Win” – prompted the two to intermittently abandon their instruments and booty dance at the stage front, which in turn riled up the fans nicely.

When life gives you lemons… A.K.A. no preference for special effects at a fest show, you just enlist Kim Schifino – the human power plant – to run through the photo pit, demanding that everyone blow up 400 multi-colored balloons as quickly as possible, then throw them skyward on the count of three. Complicity isn’t always good, but in this case it was beautiful.


Preservation Hall Jazz Band

The main course: When you realize that you’re witnessing an institution of the New Orleans French Quarter that has existed – albeit in shifting incarnations – for 50 years, you know you’ve selected the perfect midday entree. It wasn’t just locals that got their groove on Friday afternoon: the biggest main stage throng next to Nine Inch Nails’ was enraptured by seamless shifts from chill jazz standards to sizzlin’ swing.

If that rendition of “When the Saints Go Marching In” didn’t get you moving… you don’t belong at Voodoo, or in New Orleans for that matter. This ain’t Coachella, you damn yuppies.

Dr. John almost had it: With a sit-in from Ivan Neville on keys, original Meters bassist George Porter Jr. anchoring, and a slew of other local musicians pitching in, Mac “Dr. John” Rebennack’s Sunday evening set to close the Flambeau stage almost out-shone Preservation Hall. But, he didn’t have two tuba players … or two saxophonists, one of whom (Clint Maedgen) can also croon like Elvis Presley.


Macklemore & Ryan Lewis

A long story, but it worked: After his first song, “Ten Thousand Hours”, Macklemore took a break to tell a lengthy (like five friggin’ minutes) tale. The gist was that he was walking around New Orleans, saw an inviting stream, decided to go skinny-dipping, and got his clothes stolen by some thugs. Then, while clutching his shriveled jewels, he encountered a “95-year-old lady” who beckoned him by saying (in his best crone voice), “Come closer child.” She then instructed him to hop on her back (???) and when he asked where they were going, she replied that, seeing as he had no clothes, they were going to “go to the Thrift Shop!” Womp-womp. But, hey, the story had some genuine New Orleans flavor and he did all the voices so well.

Plus, he had Trombone Shorty out there jammin’. The New Orleans horn player is galvanizing on his own, and thus did Macklemore a huge favor by adding some authentic sonic spice to a setlist that’s becoming all too familiar.

And way too short. Are you kidding me? You’re only going to play a 45-minute show that included almost 15 minutes of talking? Could’ve just played “Thrift Shop” again, and even that would’ve been better….


Shovels & Rope

Who says you need a full band? Husband and wife Michael Trent and Cary Ann Hearst are plenty powerful on their own, and in some ways more dynamic than many of the bands that followed them Friday at Voodoo.

The Black Keys don’t ever switch places… but these two do often, and when Hearst hops on drums, Trent pulls off some mean riffs on his electrified acoustic hollow body, providing a balance to his wife’s sweeter strumming tones.

“Today is All Saints’ Day and tomorrow’s Day of the Dead, so it’s only appropriate that we do a murder ballad.” I think that’s kinda missing the point, but it was cute, and “Shank Hill St.” was a damn catchy tune.


Nine Inch Nails

Nine Inch Nails went into its set with the intention of giving the crowd a true rock show—at one point, singer Trent Reznor even said “We’re here to fit as much music as we can into the time we have.”  That said, NIN was exactly what I’ve expected it to be—while this was my first NIN show, I’ve seen my fair share of concert videos and Reznor interviews, and I’ve gathered that this band is serious about what it brings to the table, and its fans share that same seriousness.  From the crowd reaction, I found that there really is no middle ground for NIN fans, there’s no “I sort of like NIN.”  Either the band was a complete influence on your musical taste or you’re just not really that into it.


Who needs Halloween candy when you get a cover of David Bowie’s “I’m Afraid of Americans”? Voodoo = the NIN Deluxe Package.

Eat your heart out, Radiohead: It’s a common claim that Thom Yorke has synesthesia, allowing him to perceive music as color, and thus informing the unfailingly incredible light displays at every Radiohead show that make you ask, “How did they know I’m feeling green right now, too?” Sorry ‘bout it, but Nine Inch Nails did it better using mostly white lights. Thousands of them. Moving on panels that make you ask, “How did they know this is how I envisioned the light show for the Apocalypse?”

“Hurt”. Exactly how I’m going to feel if Reznor tries to pull that hiatus nonsense again.

Voodoo Experience Festival Videos:

Pearl Jam

The Avett Brothers

The Revivalists

Green Day

The Gaslight Anthem, ’45’ video


Acoustic performance of the band’s new single ’45’

The Gaslight Anthem’s Brian Fallon played a very special acoustic performance of the band’s new single ’45’, for a select audience of fans. He also explains how the anthemic track came together.

The 10 Best Concerts in New York This Weekend, 9/6/13

Depeche Mode

Depeche Mode

Featuring The Gaslight Anthem, Passion Pit, Depeche Mode, Bat for Lashes, The Allman Brothers Band

Grace Potter and the Nocturnals and many others

Friday, 9/6:

Depeche Mode + Bat for Lashes
Barclays Center
7:30pm, $49.50-$129.50
The unlikeliness of Depeche Mode’s continuous existence colors their every move. Arguments about how the new gloom moods hold up against the deified ones miss the point: After 33 years, these U.K. synth merchants continue to mine rich worlds of longing, lust, misery, and addiction to create dark, potent hits that probably cost more to produce each than what you paid in rent last year. Savor them.

Charlene Kaye + Emmy Wildwood + TalkFine
Cameo Gallery
8:30pm, $8-$10
From folky singer-songwriter to someone who embraced her inner glam rock goddess, Charlene Kaye is a surprising assortment of genres and styles who flows between them seamlessly. After an exciting year touring with Alexz Johnson and opening for Darren Criss at a few of his East Coast tour dates, Kaye is ready to debut a more electronic sound and bring herself into a new era. Joined by Tiger Blanket Records & Vintage Boutique owner and rising indie pop star Emmy Wildwood and synth-pop duo TalkFine, Kaye is not only delivering a proper debut for her new material but a veritable Williamsburg dance party.

Passion Pit + Best Coast
Pier 26
7pm, $40
Even though Manners once steamrolled every other dance-friendly indie-pop record on the market, moving to Columbia Records means that–strictly speaking–Passion Pit is now just pop. The wider exposure this brings is well deserved: Last year’s hazy Gossamer weaves its vocals and keyboards together so tenderly only to promptly squish them both with more aggressive percussion, and as such works as well for high-volume dancefloor applications as for intent headphone listening. Good luck doing both at the same time, though.

Frankie Knuckles
Cameo Gallery
11:59pm, $17-$20
One week after Electric Zoo brings the biggest names in contemporary house music–Avicii, Sebastian Ingrosso, Hardwell, etc.–to Randall’s Island, fans looking to dig deeper into the genre can pack into a much smaller venue, Williamsburg’s Cameo Gallery, hidden speakeasy-style on the other side of the Lovin’ Cup Café, to hear the genre’s godfather go to work. Long story short, after DJing around New York with his childhood friend Larry Levan, Frankie Knuckles moved west to spin his take on disco and r&b at Chicago club the Warehouse, the venue from which the music takes its name. Tonight, he comes home to play alongside Chris Love & AB Logic of the Sullivan Room’s underground-leaning SOUP party.

Saturday, 9/7:

The Allman Brothers Band + Grace Potter and the Nocturnals
Nikon at Jones Beach Theater
7pm, $25-$99.50
With guitars curling around the beat like whips around posts, the Allmans stitch musical textures that rival even Pink Floyd. Add to that a groove as hypnotic as early Santana and a bluesy home-cooked charm seasoned by over 40 years of tragedy and triumph, and you have a world-class live act. Greg Allman, Dickey Betts, and company have gone down into the realm of Hades more times than Odysseus–that original Ramblin’ Man–and they always return to the world with their undying songs that seem able to weave and unweave the very fabric of time.

Cher Lloyd
Best Buy Theater
7pm, $25
Not all reality show winners are created equal, and often, it’s the runners up who land on top. So was the case with the U.K.’s Cher Lloyd, she who finished fourth on the British version of Simon Cowell’s The X Factor. Expect a colorful, swaggering pop show that breathes new life into mainstream pop with the help of a few hip-hop leaning collaborations.

Fall Out Boy
Barclays Center
7:30pm, $35-$45
Like so many other great acts who got their start entertaining kids too young to drive to the record store, Fall Out Boy was never expected to last. Here we are though: It’s 2013, 10 years after their pop-punk debut, and the Illinois foursome, reunited behind the second chart-topping album of their career, are about to headline the Barclays Center, the same arena where Justin Timberlake recently accepted his VMA lifetime achievement award. That chart-topper, meanwhile, sold all those records for a reason: “My Songs Know What You Did in the Dark” is a stomping rocker big enough to compete with festival-ready EDM and ambitious enough to beat Fun., another band on Fueled by Ramen, at their own game. 

Mohsen Namjoo
Asia Society
8pm, $35
In 2009, this important Iranian singer-songwriter was sentenced to a five-year jail term in absentia for allegedly ridiculing the Quran in his song “Shams.” Namjoo’s apology was not accepted, and he currently resides in California. His most recent album, 13/8, is a brilliant hybrid of classical improvisation, Sufi poetics, and surprisingly effective jazz-rock accompaniment. 

Sunday, 9/8:

The Gaslight Anthem
The Paramount
8pm, $25-$65
The Gaslight Anthem disproves the general maxim that consistent, dependable guys finish last. Since 2006 they’ve churned out album after album of heartland punk and classic rock, the kind where Springsteen-style lonely guitar and reverberating, charismatic vocals swell into larger-than-life choruses. Brian Fallon’s reportedly been scribbling new songs in the back of the tour bus, channeling some Neil Young and Led Zeppelin into the mix, so expect a solid show.

‘Spy Music Festival’
7pm, $10
The usually unusual lineups that have graced the annual Spy Music Festival often range from the discordant to the dysplastic. This year’s is no exception: Saturday night’s headliner, Charles Gayle, plays fluid and amorphous jazz sax pieces that can be both free and frightening. Sunday night will feature Aa (or “Big A, Little a,” if you must talk about them), who regularly construct fraught collages of yelps, keyboard beeps, and augmented beats. Joining them over two days are Mystical Weapons (Sean Lennon and Deerhoof’s Greg Saunier), sometime Thurston Moore collaborator Loren Connors, Suzanne Langile, and eight other sonic head-trips. 

Upcoming Concert: The Gaslight Anthem with Bouncing Souls [NYC]

gaslight rams head

Fri, Jul 26 – 5:00 PM
Hudson River Park’s Pier 25
New York City

The Gaslight Anthem is an American rock band from New Brunswick, New Jersey, formed in 2006. The band consists of Brian Fallon (lead vocals, guitar), Alex Rosamilia (guitar, backing vocals), Alex Levine (bass guitar, backing vocals) and Benny Horowitz (drums, percussion).

The band released their debut album, Sink or Swim, on XOXO Records in May 2007, and their second album, The ’59 Sound, on SideOneDummy Records in August 2008. The band’s third album, American Slang, was released on June 15, 2010. Their fourth album, Handwritten, was released on July 24, 2012, on Mercury Records.

Brian Fallon was in a number of bands prior to The Gaslight Anthem, most lately This Charming Man. The band went through a number of line-up changes, to the point where the band consisted of Fallon, Mike Volpe, Benny Horowitz and Alex Levine. At this stage, the band renamed themselves to The Gaslight Anthem, due to a change in direction. After this, Volpe left and Alex Rosamilia joined, and the current line-up of The Gaslight Anthem was formed.