Handwritten
The opening of Handwritten makes The Gaslight Anthem sound comfortable with being a large rock band. "45" has a clear guitar hook, a firm rhythm and a chorus that Brian Fallon delivers without hesitation. The song is immediate and effective, giving the album a strong beginning before its more complicated questions appear.
The title track keeps the momentum going. The guitars have weight without losing their melodic role, and the performance makes Fallon's belief in old-fashioned songwriting sound persuasive. When the tune is this strong, the band's commitment matters more than whether the imagery has been used before.
Here Comes My Man finds another appealing route through familiar influences. Its answering vocal phrases give the song a lightness that suits Fallon's rougher lead. Howl is quicker and more compact, supplying a useful burst of energy before the record settles too comfortably into its broader sound.
The writing is more uneven than the playing. Fallon sometimes uses a reference to an older song or writer as though the association will complete the emotional picture for him. Several romantic complaints also give the narrator a flattering role while leaving the other person less fully drawn. The sincerity is clear, but sincerity alone does not make every position convincing.
The slower material is more interesting when it leaves that certainty behind. Too Much Blood has a heavier, more deliberate movement that allows doubt to enter the performance. Mae is the stronger late highlight, creating a subdued atmosphere without losing the band's ability to make a melody feel important. The song gains from sounding less determined to become an anthem immediately.
National Anthem closes in a restrained acoustic setting, giving Fallon's voice more room and fewer places to hide. It is a useful ending for a record whose large gestures can sometimes get ahead of its detail. Handwritten has several excellent songs and a confident band behind them. It works best when that confidence gives a feeling space to develop, rather than treating it as proof that the feeling has already been explained.
