Tag Archives: Tim Barry

Album Review: Tim Barry – High On 95

There is really not much more I can say about Tim Barry these days except that the man is exceptional.

The former Avail frontman has made aging as a punk rocker just so appealing.  Taking each day in stride and being the best father he can be, you might just find inspiration in him just as I have.

His solo material is more of a storytelling process with the soul purpose of letting people hear him out.  Still containing his punk rock roots as well as life-long experiences, Barry just dropped an all new release on Chunksaah Records titled High On 95.

High On 95 is a mixture of acoustic tracks and collective jams with Barry’s family and friends.  Just as he has always done in the past, Barry has no problem combining folk, rock, and punk and  with his own personal touch making for an incredible listen.

The album was recorded once again by Lance Koehler at Minimum Wage Studios in Richmond Virginia.  According to Barry, “it’s just one take” and continued with, “Lance knows the more I do it, the worse it’s gonna get. You lose something when you play it more and more. So get it right.”

One take is all it took to make one hell of an album.

The personal “Slow Down” had Barry and his guitar recollecting life in a busy city and his transition to a small town.  The backing violin playing was so fitting on this track that seemingly aged from the beginning to the end.

The detail in the lyrics on “High On 95” almost seemed like personal memories of my own.  This track was built up with some guitar playing and simple piano playing.  What made this track even better for me was the video that his 4-1/2 year old daughter filmed all on a VHS camcorder.  Life goal right there folks, especially since I have my own little versions of me these days.  Check out the video below.

“O & Dp” was more of a song a close knit of friends would sign around a campfire.  I especially related to this track with lyrics that were personable with life events and self-expectation.

“Riverbank” was a memorable jam that might be one of the more produced songs I have heard by Barry in a while and I loved every second of it.  Friendly and real thoughts put into song while letting dogs run around the river just doesn’t get much more sincere.

The toe-tapping “Gumshoe Andy” brought back train-hopping memories of Barry.  You almost wonder who this gumshoe was and what his intentions were or if it was just an inner-conscious voice taming someone’s wild tendencies.

The observations in “Porter St.” are all to familiar.  This industrialization realization of a small town track has immediately become one of my favorite Barry tracks.  Just listening to it had me thinking and agreeing with what day to day life has turned into.

“Chelsea” was almost a Dear John letter of a track with Barry showing pleasantries followed by dismissal for being deceitful.  Friendly-sounding but stern, this tune was quick to take out the trash.

It was great to hear Barry’s sister Caitlin play violin on “Running Never Tamed Me” along with Barry. Christina Marie Gleixner provided haunting backing vocals on this track about the highs and lows of life and love as told to what I would only assume was Barry’s daughters.  This was one bummer of a track, but beautiful.

At 30 minutes total, High On 95 was an amazing listen that seemed to just fly by.  I have actually listened to it a few times now and some of the tracks became even more poignant once the lyrics were absorbed in my mind.  It’s the kind of album you think with, relate to, and just absorb.

People, including myself, have asked Barry for years if he would ever reunite Avail.  He always responds that he is not interested in doing that.  For a while there, I could not understand, but as the years have progressed with the releases by Barry, I am glad he didn’t.  This man has his priorities set to align with his future on his own accord.  Godspeed sir.

Tour Dates:
9/23 Richmond, Virginia @ Carpenter Theatre
10/05 Washington, DC @ DC9 Nightclub
10/06 Pittsburgh, PA @ Cattivo
10/07 Cleveland, OH @ Grog Shop
10/8 Detroit, MI @ Smalls
10/10 Columbus, OH @ Rumba Cafe
10/11 St Louis, Mo @ Blueberry Hill
10/12 Chicago, Il @ Cobra Lounge
10/13 Indianapolis @ White Rabbit
10/14 Louisville, KY @ Haymarket
10/26 Ybor City, FL @ Pre-FEST
10/27 Gainesville, FL @ FEST
11/09 Garwood, NJ @ Crossroads
11/10 Philadelphia @ Underground Arts
11/11 Cambridge, MA @ Middle East Upstairs.
11/12 Brooklyn, NY @ Rough Trade
12/07 San Diego, CA @ Casbah
12/08 Santa Ana, CA @ The Observatory
12/09 Los Angeles, CA @ The Echo
12/10 San Francisco, CA @ Bottom of the Hill.

Album Review: Tim Barry – Lost & Rootless

Tim Barry - Lost & RootlessIt’s no lie, Tim Barry just dropped one of my favorite albums of 2014.

After hearing it just one time through, I had no choice but to make an immediate edit to my best of 2014 post.  I was blown away.

Lost & Rootless, Barry’s fifth studio release as a solo artist, is the best thing I’ve heard from him to date.

The Richmond, VA folk crooner is one of the most talented music writers I consider myself a fan of and he just further proved that to me with his latest effort.  To say he is on top of his game is a complete understatement.

Barry, on his website, said the sound to his latest release could be described as “Wooden.”  He stated “that’s the feel that I was going for when I picked the songs. There’s violin, voice, a wooden resonator guitar…there’s a very subtle electric bass on one track, but otherwise I wanted to do a wooden record.”

“Wooden” is the perfect description when you think about it.

Hiding out in a backyard shed with his sister and pal Josh Small, Barry recorded Lost & Rootless with no time frame  and no worries at all. The result is a tireless release that I have listened to over and over and found myself enjoying more so than the last listen.

One thing I adore about Barry is his storytelling abilities.  In Lost & Rootless, Barry doesn’t hold back with his tales that do not necessary have a theme to them but certainly reach back to other stores of past albums.  There is no concept to be heard and to be honest, I think Barry and crew just recorded whatever was on their mind.

Starting the album off was “No News From North”.  This was actually taken from Barry’s Laurel Street Demos, but re-recorded just as he has done with other selections. I loved the rendition of this song from its original. It sounded so much more homely and emotional.

“Poppa’s Porch” had me thinking of Barry on his front porch with his wife and kids singing to them on a weekend morning. This song told a story about the neighborhood that surrounds said porch full of fisticuffs and shenanigans. This was overall such a friendly track to listen to. It was like Cheers, but different.

“All My Friends” painted such a beautiful picture of who Barry surrounds himself with. This was a very old-timey sounding story about people who took to the streets for entertainment and communication.

I can honestly say I know exactly what “Breathe Slow Let ‘Em Pass” was all about. My rebel youth recalled those days when the law passed me by and I turned into stone until they were far away only to release a tightly held in breath. This track was amazing based on the idea of it.

The cover of “Clay Pigeons” by the late and great Blaze Foley was just amazing to listen to. Having just learned about the Austin musician myself, I can understand why Barry chose to record his own version of the song.

The somber story told in “Solid Gone” reflected hard times with family and finances and the outlawed methods to make things manageable resulting in further calamity. I can not say I have heard a song quite like this before and found myself captivated throughout it. This is one track I think everyone needs to check out on this album.

“Lela Days” was clearly written for Barry’s daughter. I have the feeling she loves it when he sings this song to her. It is a fun folky jam with real life expectations hidden within.

I can not tell you the number of times that I thought to myself how much I enjoy Tim Barry’s music.  This is coming from a aging punk rocker who has matured just a bit but still has a lot of growing up to do.  It’s nice to see that I still get excited about things.

By now, it shouldn’t matter that Tim Barry once was in Avail.  Even though his former punk act will always be one of my favorites, it is perfectly clear why Barry has moved on and started something he can call his own.

It’s no wonder he has no plans of ever getting Avail back together, his new direction just makes so much sense and does not seem to be going off track.  He has been going strong for 10 years and I hope to hell he has no intention of slowing down.

Album Review: Tim Barry – 40 Miler

If I had to describe Tim Barry in one word, that word would be “real”.  This former punk rocker turned folk rock hero is about as real as they get and I am not just saying that.  He is a talented musician and a wholesome human who just lives life day by day.  Barry, who used to front the legendary Richmond punk rock act Avail, has been going his own route since about 2004 playing solo shows all over the world.

In his fifth release, 40-Miler, Barry seemingly has taken his acoustic guitar and played from his hard-working heart.  The album was put out by Chucksaah Records.

It’s an honest and to the point album where Barry talks about his previous involvements in bands, travels, and personal reflections on the life he has lived.  The album leans more country driven than that of past releases by the man known to hitch rides on trains the old-fashioned way.  The result is hands down his best release I have ever heard to date.  It is safe to say that Barry may have created his own masterpiece without even thinking about it.

“Wezeltown” starting off the album with a soulful yet poignant Barry declaring “I pity the beautiful as the beautiful, they do pity me.”  Fueled by hand-clapping and realization, this song was more than an opening track, it was a preach aimed at all the hardworking folk out there who don’t take everything for granted.  “Driver Pull” was more like a personal conversation between the listener and Barry on a front porch moments before he hitches a ride out of town.

The title track “40-Miler” continued with the Barry’s storytelling and did not disappoint.  Reminiscing about his traveling times in boxcars and tour vans, Barry also states he has “nothing but miles and miles” to continue on.  I especially loved when Barry declared ” I’d rather stay broke than play fake ass shows.”

“Adele and Hell” was heavy on the country rock and perfect in every way.  The duet between Barry and longtime friend and local Richmond recording artist Julie Karr was a match made in heaven.  Karr gets down on this track with Barry that sings about a broken relationship.  The harmonica playing aside the twangy guitar accompanies the signing so well.  Hands down, this is one of the better tracks on the album.  I was floored when I heard it.

Barry pays tribute one of his bad ass friends who plays in Lucero as well as in Glossary in the track titled “T. Beene”.  This track, to me, was the country answer to NOFX’s “Punk Guy” with Barry recalling some crazy ass memories of a talented man who had lead an interesting life.

My favorite track on the album, “Fine Foods Market”, actually pokes fun at Barry as well as many of his fans who have “ironic mustaches” and drink PBR.  I loved when Barry sung “oh look there goes another hipster kid”.  He may have been making fun about everything, but was also quick to wonder how it all came about.

“Amen” was another amazing track full of Barry’s personal attributions and thanks accompanied by harmonica and acoustic guitar.  From singing about breaking his hand in Ottawa to almost making it to every scheduled show, Barry sang about his life on the road and even admitted sometimes he would rather just be home.  I especially got a kick out of the part where he praised a certain New Jersey band for letting him hitch a ride on their tour bus.  It was not just a song sung, it was a celebration of all the hard work Barry has ever done.  “Kick me in the head, watch me get right back up again” ends the album as almost a promise from Barry proving he is in this for the long run.

In a recent interview I did with Barry, he stated he actually erased 40-Miler from his he memory once it was completed.  He said , “when I am done with an album I step away from it.  This helps me gain perspective and hear it freshly.”  He called it a “recording detox”  and continued with, “I never have an intention with my albums. They come out the way they come out.”  How can you not love this man?

Tim Barry is currently touring in support of 40-Miler.  It is not a show to be missed.

Interview: Tim Barry

Folk / country / punk rocker Tim Barry is perhaps one of the hardest working musicians out there.  He tours when he can and makes ends meet when home, sometimes secluding himself from the real world for days at a time.  He’s been known to hop trains at times and has a great relationship with his fans, sometimes even asking them for lifts to local shows.  He’s always quick to thank said fans for their support and you know he is sincere while doing so.  The guy plays music for the sake of music.

The one time lead man of 80s punk legends Avail recently finished up an all new album entitled 40 Miler.  I can not tell you how excited I was to hear that Barry was releasing new material.  Naturally when I was asked to interview him, I jumped to the opportunity.  As a huge fan of Avail and his solo material, I was thrilled to be able to trade off some questions with Barry earlier this week.

Check out what he had to say, and make sure on April 10th, that you grab a copy of 40 Miler:

BHP: I guess to start things off we should probably talk about your upcoming release.  40 Miler is due out next month.  How are you feeling about this new release?

TB: I temporarily erased 40 Miler from my mind. Writing, planning and record an album is an epic task, as anyone who has spearheaded the process can attest. Once complete, the focus shifts to release work. I self manage, so I’m knee deep in all preparations regarding the recording becoming public. Currently that is mainly tour preparations. When I am done with an album I step away from it. This helps me gain perspective and hear it freshly. I am currently in what I call recording detox. I have no copy of the album at this moment to even reference. I look forward to getting my own copy when it is released on April 10. The album will sound brand new to me by then.

I heard that a 40-Miler is a term that train conductors used when referring to a hobo. Is that right?  Care to elaborate on this?

That’s actually incorrect. But close. It’s a term hobo’s use to slander another hobo. There are many different sects and sub sects in the railroad world. The term 40 Miler is comparable to calling a “mall punk” a poser. Or the new skater at the park a poser. Or perhaps the new worker in the wood shop the “new guy.” Lifer hobo’s, those who live on the rails, can use the term 40 Miler in a derogatory way to describe me. I’m a poser train rider. I take short trips close to home. I do not live on the rails I am a poser. A 40 Miler.

40 Miler sounds more country heavy over folk.  Was this intentional, or was this just how the songs came out?

I never have an intention with my albums. They come out the way they come out, but I think you are right. We focused more on our live sound while in the studio on particular songs. Adding heavy electric guitar and strong harmonica playing by Josh Small and Andrew Alli. Although I certainly left some of the very folk style songs on the record as well, such as Todd Beene.

“Adele and Hell” has a lot going on throughout the song including some duel singing duties.  Who was the lady who helped supply vocals on this track as well as on “40 Miler”?

The lady singing back up on “40 Miler” is in fact my right hand man Josh Small, who often accompanies me on tours; however, Julie Karr is the star of the song “Adele and Hell”.  Julie is a songwriter here in Richmond, VA, who I was lucky enough to coax into singing that song with me. She killed it. So happy it worked out the way it did. She’ll actually be playing her own songs on many of my tour dates this year. West coast for sure, and some up in the north east.

Ha, whoops… So did you recruit anyone else to help you record some of these songs?

Most of the players on 40 Miler are the folks that I tour with. The main players are Andrew Alli on harmonica and Josh Small. Both of those guys have put in many miles on my tours. Julie Karr is new to the crew. Cameron Ralston did all the bass tracks. He’s a Richmond local, and probably the best bass player I’ve had the chance to meet. My sister Caitlin also played violin, as she usually does on my recordings. And Lance Koehler, who has recorded my records for many years now shared the percussion responsibilities with me.

I love the track “Amen” off your new release. What made you decide to write such a song?

It’s funny to write a song out of context. The song “Amen” is a summery of a long time touring on my album 28th & Stonewall. A lot of good, and some bad happened in that year an a half. However, I wrote “Amen” while touring in the lap of luxury. I completed the song, and played a half-assed version live for the first time at the massive Osheaga Festival in Montreal while touring with The Gaslight Anthem, who was kind enough to let me tour in their bus. Funny to write a song about the hardships of touring while on the road with an incredibly giving group of people who fulfilled all of my needs.

How’s that hand doing these days?  I remember hearing about that.

Oh that? Boxer fracture. No big deal.

I want to shake your hand for writing “”Fine Foods Market” (see below for a video I found).  Thanks for the laugh.  Why did you decide to call out the hipster folk?

The original name of the song “Fine Foods Market” is “Tim Barry makes fun of Tim Barry.” Yes, I’m making fun of hipsters. But, I’m making fun of myself more than anyone. I’m at an age where I can tally up all my own idiocy and inconsistencies and publicly humiliate myself with clear conscience.

So, who is this Todd Beene fellow?  Sounds like a hellion.

He sure is. Let’s leave that one up to the listener.

Was there any certain track on 40 Miler that you favored over the rest?

No, not at all. I like all the songs. I dropped perhaps 25 [songs] before picking the ones that made the album. The next task is to find which ones feel the best on stage. I look forward to that.

As do I.  I can not wait to see you play some of these songs live.  Who did the cover art?  Is there any meaning behind it?

There is more meaning behind the cover art that I can articulate, but I’ll leave it at this: The design was created by my best friend Travis Conner who passed away in early 2008. I’ve used his art/photography on nearly all my albums and shirt designs. I refuse to let his memory to fade.

I completely understand.  Nice way to pay tribute.  Moving on, 40 Miler is being released on Chunksaah records.  How does it feel to be on such a great label?

Perfect. I’ve been close to the folks at Chunksaah for far longer than the label has existed. I trust and love all the folks involved with my release. I’m lucky.

So, how was SXSW?  My friend snapped a shot of you playing outside at Red 7 the other day and it looked like an absolute blast.

Whirlwind. Very quick trip. Shows were fun. Here was the schedule: Arrive in Austin via American Airlines at 11pm Thursday. Drink with Hot Water Music at hotel bar until 2am. Wake up at 6am. Eat breakfast. Go on short walk. Shuttle to downtown. Play two shows. Back to hotel to sleep from 11pm until 3am. Arrive at airport at 4:30am for departing flight to Richmond. Arrive in Richmond to have a coffee in my back yard by 11:30am. Head trip.

It doesn’t sound like you were able to see any other acts play SXSW at all.

Nope. Only the folks I played with. The entire line up for the Shirt for a Cure show was fantastic. I also played The Revival Tour show that afternoon. Everyone killed it.

I know you are not the biggest fan of the Internet, but I’ve noticed recently that your website has had quite the facelift.  First off, it looks awesome.  Second, does this mean you are biting the bullet and going to start using the Internet a little more often?

Travis Stom, Travis Stom, Travis Stom.. That man has done wonders for me. He has taken on all of my web design, updating and all logistics. If it weren’t for him, I don’t know what I would do. I am in no way a luddite, and do use all the free social networking sites as much as I can, but I’m simply not as well versed in computers as most folks are. They are the only thing in my life that creates real and pure frustration, so I steer clear of them as much as I can. However, I am not against technology and all of it’s benefits.

So many bands from the past are reuniting and touring or recording new material.  I’m sure you are asked this all the time, but still…any chance of Avail doing something again one day?

Nope. Been and done.

If you could tour with anyone alive or dead, who would you choose?

Townes [Van Zandt].

Finishing up, what’s next for Tim Barry?

Touring time. US, Australia and parts of Canada are lined up now. I’m sure tons more dates will pop up. I’ll probably write a book this year as well. Who knows? I don’t plan much. I just go where things take me.

Download the title track “40 Miler” – I should have a review of the album shortly.

40 Miler drops on April 10th on Chunksaah Records.  Preorder your copy today!

I saw Tim Barry play live a couple years back in Columbus with the Gaslight Anthem and was thoroughly impressed. Click here for a review of that show.

Check out my review of Tim Barry’s Manchester

Check out my review of Tim Barry’s 28th & Stonewall

The Gaslight Anthem / Chamberlain / Tim Barry – Lifestyle Communities Pavilion – Columbus, OH – 07/28/2010 – Concert Review

Last Wednesday Columbus, Ohio was the place to be if you were looking for an amazing rock show.  New Jersey’s The Gaslight Anthem headlined the Lifestyle Communities Pavilion with special guests Chamberlain and Tim Barry and I must say, all who packed the floor knew well in advance that they were in for a good time.  It was a show I had been looking forward to since it was announced in the Spring and luckily I was able to be a part of it.

Even if it down-poured on the way down there and careless drivers kept trying to crash into my vehicle my friends and I made it down to Columbus with some time to kill.  Having never been to the Lifestyle Communities Pavilion before I was not sure if it was an indoor or outdoor venue.  Turns out it was both but due to a baseball game at the neighboring stadium the show was going to be played inside.

While wasting some time I enjoyed a tall, cheap, and ice cold Natural Light (no I did not get paid to say that) as I conversed with friends and the people around me at the A&R Music Bar that stood left to the concert hall.  Turns out we were not the only folk who traveled to see the show.  One group of guys, who I swear I knew one of, were from Cleveland and another few came all the way from Indianapolis.  I also got word that someone else I knew was traveling from Charleston, WV.  When it is a show like the one we all had tickets to, it was worth the drive no matter how far away.

Making way into the indoor section of the Lifestyle Communities Pavilion I was impressed with what I saw.  The inside was not only super clean but nicely laid out with a split level floor as well as an upper floor where one could see the stage just about anywhere you hung out.  My only vice was that my photo pass only allowed access to the photo pit for Tim Barry, not that I am complaining.  I just had never encountered a venue so strict with their press before.  Regardless I was beyond pleased to be in the building that was about to host three exciting acts even if it were going to be indoors.

Tim Barry took to the stage with a beer in hand and a baseball cap shut down over his head.  While most know Barry as the punk rock lead of Avail there were many who had no idea who he was.  There seemed to be a lot in the crowd who were expecting more than a man and his acoustic guitar to fill the opening slot.

That soon changed as the Richmond, Virginian working class hero kept close to the mic stand and strummed his guitar playing “This November”.  The punk turned folk rocker told everyone how busy he has been being on the road touring since January and pointed out at one time that he was not afraid of death at all but feared failure and especially being on stage playing a bad show.

I was most impressed to hear Barry not only play “Prosser’s Gabriel” but also state to the crowd before the song that he was planning on playing a free show on the parking lot in Virginia that lies over the burial site of Gabriel Prosser.  The punk at heart bad ass was not kidding and even mentioned being told to bring along a lawyer because he knew he would get arrested.  By the time the song was over just about everyone in the venue had their eyes on the one man show.  Other tracks I enjoyed seeing live were “Avoiding Catatonic Surrender” as well as the end of the set chilling “Dog Bumped”.  During that final song I could not help but scream along in approval (queue in Johnny Cash At Folsom Prison applauds) with the crowd during different moments of the track.

Barry might be a tough mother you-know-what, but he is also sincere and genuine as seen when he thanked the crowd for letting him play once it was time for him to exit.  While the next act was getting set up Barry was actually walking around amongst the crowd where my two friend’s spotted him and bought him a beer.  I was told that Barry said not only thank you to them but also yelled “that’s the biggest damn beer I ever seen!”

Tim Barry Setlist:
This November
Moving on Blue
Idle Idylist
Church of Level Track
Prosser’s Gabriel
Avoiding Catatonic Surrender
Dog Bumped

Chamberlain hit the stage next and as much as I thought I was going to enjoy their set I didn’t.  I have heard their material and recognized when certain songs were played like “Try For Thunder” and “Mountain Of A Heart” off The Moon My Saddle but just was not impressed.  They sounded much rockier than what I am used to on their studio album and not to mention the lead singer was just acting off key.  I am not the only one who noticed that either.  Luckily for the band my thoughts about them were not shared with the rest of the crowd.  They loved them and erupted with approval when the band stated they were happy to be back in Columbus.

The band played through a good set including “Manhattan’s Iron Horses”, “Stars In The Streetlight”, and the impressive live sounding “Raise It High” which I later picked up a 7″ of at their merch table.  They were solid and on point but again I just was not feeling it (until the last song).  I really need to give these guys another chance live as I love their albums and especially adore their previous act Split Lip.

The rock band of the night, hell -the year, Gaslight Anthem took the stage while Jay-Z’s “Empire State Of Mind” blasted over the PA with all smiles to the packed house.  Wasting no time the band jumped into their latest album’s title track “American Slang” followed by “Boxer”.  Brian Fallon and crew looked so happy to be on stage and gave the crowd the show they paid for continuing with my favorite track off American Slang “The Diamond Church Street Choir”.  During the song I was curious to see if Fallon would be able to sing his Billy Joel-like ending and to my satisfaction he nailed it.

Keeping the momentum the band moved along with “Old White Lincoln”, “Even Cowgirls Get The Blues”, as well as “Mile Davis and The Cool” and “The 59 Sound”.  Needless to say the entire crowd helped sing along throughout the set as well as danced, moshed, and just lost all control.  After “Film Noir” Fallon spoke to the crowd but be it my bad ears or him strumming his guitar a little too hard, I could barely understand what he was saying. He mentioned to the crowd something along the lines that his Mom loved and shared this band from 1959 that featured a bunch of African-American men playing on an album with some guy named Elvis.  The band immediately broke into “Wherefore Art Thou, Elvis?” – Again, the place went insane.

After about six more songs including “Blue Jeans and White T-shirts” and “The Queen of Lower Chelsea” the band finished up their set with “Great Expectations”.  Knowing that there would be an encore in just a few moments I was already fully satisfied or so I thought.  With the crowd cheering in a soccer like chant of ” Gaslight Anthem” followed by claps the band returned to the stage and announced they would be playing a few more songs starting off with a cover of Lucero‘s “The War”.  All I could think was how awesome it was going to be to hear their version when all of the sudden Tim Barry came out and sang along.  I was speechless.

The encore, which lasted longer than most opening acts I have seen in my day, also included “We Came To Dance”, “Senor and the Queen”, and another cover from a band called The Who.  It has been quite some time since I have seen an entire venue participate during a song but the moment “Baba O’Riley” started that all changed.  The Gaslight Anthem’s version was exceptional and the moment they finished Fallon screamed “Yeah! So much fun!”  He was correct in that statement, it was.  I thought the show was over and that was the band’s farewell but they kept playing and I was not complaining one bit.  Ending with “The Backseat” it was clear that I was not the only one who had just witnessed an amazing performance by a young and growing talented band.

The band exited the stage, the lights came on, and that was it – the show was over and it was time to go on our separate ways.  Immediately the saying “the memories will last a lifetime” rolled thought my mind and I could not agree more.  Throughout all of the shows I have seen this year this one will stand out a little more over the others.  I was treated to an amazing performance by a band I have been a fan of since they were playing small clubs as well as finally grabbed the chance to see a good man named Tim Barry.  That night is what live music is all about to me and I am grateful to have been there.

The Gaslight Anthem Setlist:
American Slang
The Diamond Church Street Choir
Old White Lincoln
Even Cowgirls Get The Blues
Bring It On
Miles Davis & The Cool
The ’59 Sound
Red In The Morning
Angry Johnny & The Radio
Film Noir
Wherefore Art Thou, Elvis?
Blue Jeans & White T-Shirts
Stay Lucky
Boomboxes & Dictionaries
The Spirit Of Jazz
The Queen Of Lower Chelsea
Great Expectations

The War – Lucero cover w/ Tim Barry lending vocals
We Came To Dance
Senor & The Queen
We’re Getting A Divorce, You Keep The Diner
Boba O’Riley – The Who cover
Here’s Looking At You Kid
The Backseat