The Stanfields and Gloryhound heat things up in Toronto
Fans of Halifax rock were in for a treat on January 15th when three of Nova Scotia’s finest took to the stage at Toronto’s Legendary Horseshoe Tavern. Along with supporting Haligonian acts Gloryhound and Carmen Townsend, The Stanfields lit up the stage and shook the loud, healthy crowd with three distinctly different, but equally raucous sets.
To watch the Stanfields and Gloryhound – touring mates for their recent jaunt across Canada – you would never believe they’d suffered the typical malaises of travelling over land in the dead of winter: the smell of five sweaty guys in a cold van, the countless hours of driving trying to recover and sleep from the night before,  the malnutrition, the dodgy club owners, the 2 am load-outs – it’s almost too much for many young aspiring rock stars. But by all appearances, conditions like these are what these bands live for.
(This reporter regrettably missed Ms. Townsend’s opening performance due to a family commitment. My sources tell me, however, that the bluesy rock guitar mistress has since been slaying audiences on several North American dates opening for the newly reunited Heart.)
Despite the pounding one’s mind and body take on the road, there are silver linings that only well-seasoned musicians appreciate. These include acquiring new adoring fans and the increasing ability to gel musically after every show. Case in point: Gloryhound. When our group strolled into the depths of one Toronto’s oldest venues, we weren’t sure if we were hearing the right band. From the start of their career, Gloryhound and the Skyhawks could have slipped into the “Poor man’s El Torpedo” category. Instead, they overcame any hint of stagnation when they sold their “Skyhawks” moniker, hippy cowboy look and Gretsch guitars at the crossroads and reinvented themselves. Clearly the new Gloryhound has re-built everything from the ground up and has never looked back.
From the first crunch of Gloryhound’s road worn double Gibson guitar riffs, the audience was pounded with punky hooks and rocking licks that nearly bled from the speaker. Their new material has a heavier, nastier growl, which might be unexpected when compared solely to their debut offering, but which has been welcomed by a growing fan base. Instead of laidback looseness, these guys delivered tight, high-energy tunes, taking all the right cues from the Ramones, Lou Reed and David Bowie. By the end of their set, all the shoe gazers were converted, as fist pumping and erratic robot dancing ensued. (An added bonus: the energy and attitude of their live show is captured amazingly well in on their new album Electric Dusk.)
With the crowd well-primed, headlining act The Stanfields took the stage and proceeded to turn the atmosphere in the room up well past eleven with their blend of Celtic- and Punk-infused Rock. These lads did not have to convert anyone: this was the Stanfield’s crowd, ready to soak up all the sweat, beer and East Coast spirit they could handle. In addition to their relentless enthusiasm, what really sets the Stanfields apart from most young bands is that despite the scruffiness of their sound and appearances, they really can play and sing. The main example of this juxtaposition of filth and technical brilliance is lead singer Jon Landry’s voice. Landry launches lyrics with pipes that on the one hand sound like they’ve been torn by broken rum bottles, but on the other hold true to every note like a beacon for his band mates as they join him with solid four-part harmonies.
There are no weak links in their line-up: Jason MacIsaac weaves rhythms and riffs on guitar, while Jason Wright handles leads on bouzouki with machine gun fury that is equally matched by Landry’s guitar work. At the core of their sound are Craig Eugene Harris on bass and Mark Murphy on drums, working together and slinging cannonball-sized beats that could sink any ship in their way.
Their lyrics bounce between the humour of the Trailer Park Boys, the salt stained bravado of ancient sea shanties, and the darkness of Johnny Cash. (Teetotallers beware: some of the Stanfield’s lyrical content may contain the odd reference to alcohol.)
While infecting the crowd with their infectious spirit, the lads put all their heart and strength into their live show like it was their last. (Their debut album puts all of their live energy, musicianship and relentless drive onto disc and should be next on your list if you haven’t picked it up already.) It was hard to tell if it was the band or the crowd that was having a better time.
Apart from the relentless touring, and recent appearances on the ECMAs and the Canada Games, the band takes note of the fact that they have a solid core of Atlantic Canadian fans across the nation. When asked what he thought of the flocks of East Coasters rushing the stage at every show, Landry smiled and said “We love the expat community everywhere we go and I think our band really takes advantage of that. It’s an attitude where we have to honour our roots and put our two cents in and give back to the fans as much as they give to us.”