The Get Alongs Tune the Night on “Come On”
Toronto’s The Get Alongs return with Come On, released as the first glimpse of their upcoming sophomore album Second To None, due June 19, 2026 via Having Fun Records and We Are Busy Bodies. It is a track that hums with late-night energy, the kind that lingers in the air after the last call, where guitars ring out against the distant rattle of streetcars and the city refuses to fully sleep.
From the outset, Come On leans into a jangly, road-worn guitar sound that carries both looseness and intent. There is a casual swagger running through it, drawing subtle echoes from The Brian Jonestown Massacre and the melodic immediacy of Oasis, but without leaning too heavily on either. The band keep their footing firmly in their own space, grounded in the texture and rhythm of Toronto itself.
The composition balances movement and restraint. Bright, driving guitars cut cleanly through a rhythm section that stays steady and deliberate, creating a push-pull dynamic that feels both relaxed and tightly controlled. It is music that knows when to breathe and when to lean forward, never overplaying its hand.
At the core of The Get Alongs are Harrison Pickernell on vocals and rhythm guitar, Rory Pickernell on lead guitar, Eric Wood on bass and Tristan Catenacci on drums. Since forming in 2017, the four-piece have steadily shaped a sound that pulls from multiple eras without settling into any one of them. Elements of 60s garage, 70s power pop and 90s psych all pass through their music, but are filtered into something cohesive and immediate.
What makes Come On particularly striking is its balance between instinct and refinement. The scrappy energy that defined their earlier releases is still present, but it has been sharpened. The edges are cleaner, the hooks land with more weight, and the band move with a confidence that comes from years spent playing real rooms and understanding what connects.
There is also an unexpected layer to this release. The single is being issued as a limited-edition lollipop that plays the track through bone conduction. Sound travels through the teeth and jaw directly to the inner ear, creating an experience where the music feels internal rather than external. It is a strange and inventive approach, collapsing the distance between listener and sound in a way that mirrors the immediacy of the track itself.
The recording of Second To None marks a shift in the band’s process. Tracked at Holy Mountain Sound in Montreal with producer Clayton Dupuis, the sessions took the group out of their usual environment and into a more focused, immersive setting. Living within the studio, they refined tones, tightened performances and expanded their arrangements. Contributions from AJ Krome and Josh Campos add subtle depth without altering the band’s core identity.
What emerges on Come On is a band that still carries the dust and spontaneity of their early days, but now directs it with intention. The song feels lived-in, like a space you can step into. You can almost picture it unfolding in a small venue, amps buzzing, cables tangled, a half-finished drink on the stage and the low-end settling into your chest before the first chord even lands.
With this single, The Get Alongs signal a clear evolution. They are not abandoning what made them compelling, but refining it, focusing it and pushing it forward.
A confident and infectious return that captures both the looseness of late-night rock and the precision of a band fully in control of its sound.
© Thusblog
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