The Glorious Sons presale codes

The Glorious Sons came out of Kingston, Ontario, blending bar-band grit with radio-sized hooks under singer Brett Emmons. They built their name on relentless touring and confessional lyrics that read like late-night conversations.

Songs you might belt out

Expect a tight, high-energy run that likely includes S.O.S. (Sawed Off Shotgun), Everything Is Alright, Panic Attack, and A War on Everything. The crowd tends to be a cross-section of rock radio listeners, indie-leaning fans, and curious newcomers, with worn denim, ball caps, and a few vintage hockey sweaters in view.

Roots and small surprises

They are Kingston proud, and you hear that storytelling lineage in the way the guitars leave room for the vocal bite. They won a Juno for Young Beauties and Fools, a nod that helped lift them from clubs to festival main stages. A quieter bit of trivia: S.O.S. (Sawed Off Shotgun) climbed to No. 1 on U.S. Mainstream Rock, a rare feat for a Canadian act in recent years. For transparency, the selections and production ideas here come from recent patterns and could shift night to night.

The Glorious Sons Crowd: Denim, Hooks, and Heart

This scene leans relaxed and earnest, with flannel, worn denim, faded band tees, and the odd team jersey telling you it is a come-as-you-are room.

Rituals in the room

Hands go up for the first riff of S.O.S. (Sawed Off Shotgun), and the clap lands hard on the snare while the room takes the chorus. During Everything Is Alright, you can hear the house sing the title line in unison while Brett holds back a beat to let it ring. Merch tends toward simple block fonts, tour city backs, a few hat options, and a hoodie you will actually wear the next day.

Roots and respect

You will spot Kingston nods on shirts and signs, but the mood feels local everywhere because the talk between songs is plain and unguarded. Fans trade favorite deep cuts without flexing, and there is clear patience for ballads in the middle of the set. The age range is wide, from first-concert teenagers to lifers who know the EPs, and the mix keeps the floor lively without turning pushy.

How The Glorious Sons Build Their Live Sound

Brett Emmons sings with a rasp that cuts through, and he leans on clear phrasing so the stories land even when the band gets loud.

Thick guitars, breathing room

Jay Emmons carries the bright, ringing chord beds while a second guitar colors the edges with grittier lines, keeping the choruses wide. Live, tempos run a touch faster than record, which adds lift without turning every tune into a sprint. The rhythm section favors a head-nod groove, letting kick and bass lock in so the vocals sit on top. They often bring an extra player for keys or third guitar to recreate stacked studio parts and those gang-style backing vocals.

Small choices that matter

A common trick is to strip the intro of Everything Is Alright to voice and strum, then slam the band in on the downbeat for contrast. Guitars sometimes tune a half-step down for a thicker grind, which also keeps Brett's voice in a strong pocket late in the set. Lighting tracks the dynamics in broad strokes, warming up for verses and turning cool and bright as choruses hit, always in service of the songs.

Kindred Roads for The Glorious Sons

Fans of Arkells will find a similar mix of shout-along choruses and community-minded storytelling.

Neighboring sounds, shared spirit

The Blue Stones bring a lean, riff-forward approach that mirrors the crunchier side of The Glorious Sons, especially in smaller rooms. Sam Roberts Band skews melodic and warm, ideal for fans who like guitars that sparkle between open-road rhythms. The Gaslight Anthem overlaps on lived-in lyrics and blue-collar romance, and their shows ride that same steady build from smolder to roar. If your playlist swings from muscle to melody, these acts sit near The Glorious Sons in tone and in the way they let crowds sing the last lines. All four push heart-on-sleeve rock that feels modern without losing the rough edges.