By Lethbridge Herald on November 15, 2018.
The Glorious Sons and The Beaches show rock is alive and kicking
Rock and roll is alive and in great hands as The Glorious Sons and The Beaches showed a packed Enmax Centre house on Tuesday night.
Not just Canadian rock, but rock period. The Kingston and Toronto bands, rising stars on the rock scene, gave about 1,200 fans a look at the present and the future of a genre that is disappearing from the charts faster than ice in the Arctic.
The Glorious Sons was the band fans came to see and in a rousing set, charismatic frontman Brett Emmons and his gifted comrades gave the crowd everything they wanted, and perhaps even more.
Frontman Emmons, only in his mid 20s, belied his age with his showmanship. He strutted and swayed across the stage like a skater going for Olympic gold, his movements as fluid and mesmerizing as The Glorious Sons music. He engaged his audience, including a group of rowdy young guys perched down below in front of the stage, frequently and utilized every inch of floor space to reach audiences on both seating levels. Emmons has not only rock star swagger, but a voice that is out of this world.
With only a partial bowl set up for the show, all customers had a superb and close-up view of The Glorious Sons, who justifiably are now gaining momentum in the tough U.S. market.
The Glorious Sons aren’t just Canadian rock stars, they are rock stars period. They not only play well, though. They write superb music, their melodies, lyricism and musicianship on a plane with the best in the business.
They hit the gates running with their hit “White Noise” which prompted an eruption of applause from the audience then quickly pulled the trigger on “Sawed Off Shotgun,” the band’s latest single, a song which is destined to be a modern Canadian classic.
Throughout their set, The Glorious Sons did what they’ve done on their many visits to Lethbridge — give fans every bit of their heart and soul, leaving nothing on the stage when the last notes faded into the black depths of the ceiling high above the seats.
Songs like “Godless, Gracess and Young,” “So Much Love to Give,” and of course “Mama” showcased their range as songwriters.
A new song “Baby Came Back”, a radio-friendly rocker that had fans dancing in their seats, I suspect will become familiar very soon to fans on both sides of the border. The tune has a vibrancy and a hook that instantly grab listeners by the eardrums and demands to be heard.
Opening band The Beaches, a four-member female outfit from Toronto, showed in a too-short set why they earned this year’s Juno Award for Breakthrough Group of the Year.
The Beaches may be young but their punk sensibility will be immediately recognizable to an older audience who lived through the glory days of the 1970s when punk was a way of life.
The Beaches have a rawness about them, that combined with the superb lead vocals of bassist Jordan Miller and her bandmates’ musicianship, makes them absolutely enthralling to watch and hear.
Along with Miller, the band includes her guitarist sister Kylie, guitarist/keyboardist Leandra Earl and drummer Eliza Enman-McDaniel who attacked her kit with the intensity of a hungry wolf stalking a lame deer. Enman-McDaniel was the essence of punk with her ferocious playing.
Their set included a heavy modern cover of The Ronettes’ “Be My Baby” which deserves to get some airplay. The Beaches stripped the innocence and veneer from this classic and made it an anthem for today’s generation of women, who live life on their own terms.
Both of these bands have bright futures ahead of them. They have barely scraped the surface of their own talents which are as deep and layered as fine whiskey.
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