In what feels like a well overdue release, Gaslight Anthem frontman and beloved punk rock superstar, Brian Fallon, has finally found the time to give birth to his debut solo album ‘Painkillers’. With his main band on hiatus and having recharged his batteries, the album is full of the singer-songwriter’s classic traits, but it also contains subtle new flavours added to his repertoire. It’s just a question of whether these new flavours actually fit into his arsenal successfully?
Produced by the renowned Butch Walker (who also plays guitar on the record), Fallon couldn’t have asked for a better partner in crime. Stripping back some of the fundamental Gaslight Anthem approaches, the album sounds distinct and only at rare points could this be confused with anything other than a solo record.
The last Gaslight Anthem album ‘Get Hurt’ was near crucified by critics and divided fans. This makes ‘Painkillers’ an even more important lease of life for the singer who’s had a turbulent few years. Still proving that he is one of the greatest lyricists of this generation, Fallon’s new collection of ‘couch songs’ can make your heart shatter one moment and then fall head over heels in love the next. Themes on the album ambiguously cover his divorce and his fascinating journey through New Jersey life. His beautiful and teary-eyed confessions during the likes of ‘Rosemary’ and ‘Nobody Wins’ shows he’s not afraid to wear his heart on his tattooed sleeves (as long as a few metaphors are involved).
As with his entire background, there’s similarities and appreciative nods to his hometown pal Bruce Springsteen throughout. A comparison he’ll probably never be able to get away from. Right from opener ‘Wonderful Life’, the album relishes in his trademark imagery and unmistakable rasp. The title track and ‘Smoke’ both come with distinctive choruses that are made for late night whiskey drinking sessions. Although the most cliche, ‘Among Other Foolish Things’ is certainly the best and most visual song on ‘Painkillers’. As well as it being almost the only time you get a piece of the classic Gaslight swagger, the track highlights what Fallon is truly best at – his incredible knack for storytelling.
Much more Chris Stapleton than Frank Turner, elements of folk and alternative country have been introduced (luckily not to the point of ‘bro country’). ‘Long Drives’ has sudden hints of Johnny Cash and gives the album a bit of diversity. The fast and gritty punk rock of Gaslight Anthem is all but gone. However, it’s unfortunate because some of that grit would have made this album stand out a lot more. The more experimental songs like the aforementioned, ‘Mojo Hand’ and ‘Steve McQueen’ fall flat without the speed and flamboyancy of Fallon’s previous work. Although completely authentic and clearly this is exactly the album Fallon wanted to make, it feels like it needs a more daring approach.
‘Painkillers’ is definitely not just another Gaslight Anthem album, and it will certainly be enough to keep his fans and admirers more than happy. The album is a celebration of a man getting over the worst of times and displaying it in a beautiful and emotional narrative. Having perhaps not challenged himself enough, ‘Painkillers’ might be missing the hooks but it is still full of heart.
LOUIS KERRY