“What a wonderful day for an exorcism” is a phrase ringing around this reviewer's head as I make my way to the Olympia to see erstwhile Gaslight Anthem frontman Brian Fallon perform his first solo date on these shores (and no, I'm not counting his appearance on Chuck Ragan's Revival Tour in '11 as an official set by the way). Why are those infamous and ominous words running around my brain tonight, you ask? Well, you see, apart from perhaps the most ardent fan of the now dormant, punk-imbued band, most would probably agree that the New Jersey natives weren't quite firing on all cylinders over the last few years and as a result the songwriter now has his work cut out for him to get fans back onside and banish the ghosts of some of those previous, underwhelming shows (hell, that criminally quiet Belfast gig in the summer of '15 alone will require a whole gaggle of exorcists...).

After previously making a pilgrimage to Manchester earlier in the year to watch the tunesmith and his fledgling Crowes take flight, I can confirm he seems more than up for the task though and tonight his rebirth as a denim-plated, country and folk-flecked guitar-slinger continues. Running through all the best bits of his sterling debut Painkillers as well as some choice cuts from his side project the Horrible Crowes, Fallon looks assured and, most importantly, interested.

We're eased into the set with a remodelled, Phil Spector cap-tipping rendition of the title track, but business really picks up when he hits us between the eyes with the effervescent power pop of 'Among Other Foolish Things' and the cowpunk stomper 'Red Lights.' Unfortunately the show gets derailed a little after that “thanks” to an extremely vocal Swede who decides he wants a personal conversation with the singer. Clearly vexing Fallon, a performer who always has a sunny disposition onstage despite his clutch of sad songs, the crowd then step in with a booming, if bizarre cry of “Olé, olé, olé” and the fan dutifully shuts the fuck up for the rest of the night, clearly powerless against the charms of 'Put 'Em Under Pressure.'

This evening's highlights are the numbers taken from the Horrible Crowes' debut Elsie. Fallon's finest work, Sink Or Swim, the likes of the bullish, bluesy 'Mary Ann,' the bruised and beautiful 'Ladykiller' and the anthemic 'Behold The Hurricane' are a real treat and are worth the five year wait to hear them being performed by a full band.

The cover of Dire Straits' evergreen, tear-stained classic 'Romeo & Juliet' was as sweet as it was surprising and final song, a stripped back version of Gaslight Anthem favourite 'National Anthem,' sees Fallon, aided only by his acoustic guitar, deftly tugging on our heartstrings and it sends his faithful flock home happy.

Photo by Kathrin Baumbach