GASLIGHT ANTHEM with SAINT ALVIA at the Opera House (735 Queen East), Friday (March 20), 8 pm. $15.50. 416-870-8000.
The Gaslight Anthem played first on a four-band bill back in October – their debut show in Canada – and now they’re returning to Toronto as headliners for a hot-ticketed date as they ride a wave of widespread critical acclaim. Guess these New Jersey boys are getting a taste of the spoils that come with being an upwardly mobile rock band, right?
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Not quite yet.
“We’re working our way through the music industry, and money, well, that’s definitely a part we haven’t figured out yet,” laughs drummer Benny Horowitz from his New Brunswick base.
“If I can get off my brother’s floor, start paying rent and have my own apartment cuz of music, I’ll be stoked.”
Gaslight’s been gathering momentum since last fall’s release of their ass-kicking second record, The ’59 Sound, and paycheques could get Springsteen-sized soon enough. The Sound’s Boss-influenced, punk-framed rockers, accentuated by guttural frontman Brian Fallon’s heartfelt voice and character-based lyrics, have won over listeners beyond the punk circles where the band began, a rare feat in a fractious music scene.
“It’s so wildly beyond our expectations,” Horowitz says, “but I’m glad it’s happening.
“I can’t put my finger on what’s going on. People are finding something in the music that really grabs them. Brian’s an awesome songwriter, but, you know, it just is what it is, and luckily people like it.”
Even if the fires flicker out, Gaslight don’t plan to slow down their tour schedule. They’re booked solid till the fall, including a June date at the London festival Hyde Park Calling, where they’ll share a stage with Bruce and his E Street Band. It’s proof that even if the money isn’t there yet, the rewards are definitely rolling in.
“I love what we’re doing. It’s beyond what I ever thought I could do in music. People wanna hear the music now. We might not always have that chance.”
Interview Clips
Benny Horowitz discusses coming out of the punk and hardcore scene and the idea of making a living off music.
Horowitz considers why their sophomore album is much more successful than debut.
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