To steal and alter a quote from the great Dr. Heinz Doofenshmirtz, “If I had a nickel for every band playing tonight that I last saw at 2022’s Riverfest Elora, I’d have two nickels. Which isn’t a lot, but it’s weird that it happened twice.” As an Ontario-raised boy, I was stoked to get a sound of home on the Tuesday before returning for the holidays, and what better of a modern rock one-two punch than this bill right here? After making my way to a dark and empty MTelus, I was informed that the show got moved to Theatre Beanfield just a couple of days ago. Inconveniences aside, the thought of seeing arena rockers perform in an even more intimate space was exciting.
I got to the surprisingly-packed venue just as The Blue Stones were starting what I hope was the first song of their set. This group is everything you could want from a two-piece rock band. Grounded drums, tasteful chord voicings, low-end coverage thanks to some pedals, and yes, the tastiest of riffs. This Windsor, Ontario duo was a well-oiled machine, never missing a beat, even between songs. Their professionalism, mixed with love for the art of performance, shone through their wonderfully written work. There’s such a bond between two-piece groups, one that tells the audience that there’s no way they’d still be doing this if they weren’t best friends. Many bands find their home as an opener, as a nostalgia act, as a festival crowd pleaser, but everything in The Blue Stones’ forty-minute set proved they’re meant for something greater. Their sound is heavy enough to shake a tiny, sweaty venue down to rubble yet accessible enough to find itself in constant rotation on modern rock radio. Drummer Justin Tessier mentioned their love for Montreal a couple of times and how it’s the best city in the world. I don’t care if it’s pandering; he might just be right.
Rock radio hits from the 20th century graced the PA between bands, and soon enough, the lights dimmed, and, with a Habs jersey draped over a stage right roadcase, The Glorious Sons walked out to greet an enthusiastic audience. The Kingston, Ontario six-piece looked so comfortable up on stage; never showing off, yet tastefully giving each song exactly what it needed on their respective instruments. Frontman Brett Emmons gracefully made the space his own, and though his higher notes sounded strained, his voice’s natural rasp still touched the soul. Whether it be during Canadian rock anthems like S.O.S. and Come Heavy, or during their rustic, folkier cuts like Dream and One Church Town, the voice and lyrics were the focal point of the set.
As Emmons occasionally talked to the crowd, there was a sentimentality to each of his speeches. 2023 was such a pivotal year for a lot of us, and for the band to be three shows away from returning home to their families and loved ones, especially after 100+ days on the road, must feel great for them. That pure emotion carried through their four-song encore, capping their two-hour set on a beautifully emotional note as the band embraced, surely excited to have only a few shows left before some well-deserved rest.
Honestly, for me and most of my friends, rock music was a gateway into our respective niches, into more exciting subgenres that we’ve later latched on to and made part of our identities. Despite that, it feels good to resurface and to have witnessed a world-class rock show made up entirely of 20 and 30-somethings on stage, playing music that our dads would love and appreciate. Rock isn’t dead; it just got relocated to Theatre Beanfield.
Review – Mathieu Perrier
Photos – Eric Brisson
