The set was full of heaters did you love ‘59 Sound and Handwritten? You’re in luck: they’re hungry to play for crowds, and they’re not afraid to trot out half of each album sprinkled throughout the show, including set openers “Howl” and “Handwritten.” Each and every release got at least a couple moments in the sun, even the oft’-forgotten debut Sink or Swim and the bulletproof “Blue Jeans & White T-Shirts” from the unfuckwithable Señor and the Queen EP. They would, frankly, be bonkers to not sally forth, more perfect for the struggle, in service of how damn tight they sound now.įor anyone in the crowd who might not be the most well-versed in the band’s catalog, the concert felt like a “Greatest Hits” collection, almost as though it was designed to indoctrinate those dragged along along with satisfying the oldheads at the other end of the spectrum. Even without the knowledge that the band are already talking about looking forward to their next album, they felt too on fire to worry about them not coming back. All concerts are ephemeral, but any reunion can go up in flames at any second, leaving you wondering if you’ll get a chance after this one to see them play. Through it all, they were tight, tight, tight their time spent touring in Europe has limbered them up enough that any post-rebirth jitters or rust have long since been shaken off. By the time they took to the stage, they could have played anything, and they’d have whipped the crowd into a triumphant frenzy.Īnd they didn’t just play anything - they trotted out all of the big guns. Adding to the excitement in the room, this was the first night of the the Gaslight Anthem’s first proper North American tour since ’15, so the celebratory energy in the room was palpable. (Isn’t this at the heart of why the reunion of LCD Soundsystem was in such poor taste?) Is it just restlessness that makes bands do this? Who knows, but if you’re a fan of the band, it can be frustrating to feel joyful that your band has properly come back, but annoyed that they weren’t gone long enough to feel missed.
In fact, they weren’t even the best at staying gone they got back together for a string of The ‘59 Sound anniversary shows just three years after they went into hibernation, and only took four years to admit they were staying awake. Maybe it’s just that these bands realize that there’s more joy to be had than not in playing music you wrote with some friends.Īdmittedly, this conversation arguably doesn’t apply to The Gaslight Anthem, who announced an indefinite hiatus in 2015 - sometimes “hiatus” means “break,” not “denial-laden breakup” (lookin’ at you, Fugazi). Perhaps it’s because the members of these bands realize that, in not reuniting, they’re leaving the money of ravenous fans on the table, which is tempting in a world when making a living with art is borderline lottery-like in its safety as an investment tactic. This year alone has seen the rebirth of Pavement, Sunny Day Real Estate, Le Tigre, Elliott, Mclusky and - gulp - Dresden Dolls, as well as countless others. Really, the number of bands that will truly never reunite - excluding the ones where death or illness prevent it - has dwindled in an era where the internet can breathe new, fresh fandom into even the most seemingly obscure acts.
The band reunion has become one of the most inevitable cycles in music.
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