Across 20 songs and roughly 72 minutes, Gord explores the two sounds that have followed him since childhood. Released on November 6, 2026, “Under Them Neon Lights” brings country storytelling together with hard rock, moving from emotionally direct passages to guitar-driven songs with real force behind them. The shifts can be dramatic, but Gord’s enthusiasm for both styles makes the album feel personal rather than an exercise in mixing genres.
That range goes back to his upbringing in a small rural town, where country and hard rock were both part of the soundtrack. He was drawn to intimate acoustic love songs as much as the charge of amplified guitars. Discovering Brian Setzer and the Stray Cats inspired him to start playing as a child, and his influences remain unusually broad. The storytelling traditions of Kris Kristofferson and Alan Jackson sit alongside the heavier impulses of Iron Maiden and Setzer. Here, those tastes share the same space.
“Five More Days” captures the album’s melodic appeal. There’s anticipation in the song, but also longing that gives its upbeat character emotional weight. Electric guitar makes a striking entrance and establishes the melody’s momentum, while steady percussion keeps the track moving. Gord’s vocal delivery is catchy without losing that underlying feeling. As the arrangement gathers energy, the chorus takes on the kind of sing-along quality built for a roomful of voices.
“Dead Man Walking” offers a different kind of pull. Gentle guitar lines set a reflective mood, leaving space for Gord’s earnest singing to do much of the work. The mellow country arrangement doesn’t crowd the lyrics or rush the emotion. Instead, the song holds its focus on vulnerability, and the ache in his delivery gives the performance its character. After the lift of “Five More Days,” this quieter approach makes an effective contrast.
The title track turns the energy back up. “Under Them Neon Lights” rides on lively percussion, upbeat guitar work and spirited vocals. The rhythm invites dancing, while the harder rock edge keeps the song from settling into a purely traditional country feel. It’s easy to picture the atmosphere it evokes: a crowded country-rock room with people moving to the beat and singing along.
Elsewhere, Gord knows when to hold back. “What the Song Needs” follows a softer, tender progression, giving its emotional details space to register. “Someone’s Got It Worse” is affecting in a different way, with a heartfelt vocal that draws attention to its poignant narrative. Both performances underline the more introspective side of the record. Neither needs an oversized arrangement to make its point, and that restraint matters on an album with so many high-energy turns.
“Longshot” brings a fresh surge of momentum. Its cinematic atmosphere and pulsing drive give the track an uplifting sense of conviction, making it one of the record’s more empowering moments. “Obsessed,” meanwhile, lets Gord lean harder into the rock side of his voice. As the instrumentation grows urgent, his delivery becomes firmer and more anthemic. The difference between these performances and the album’s quieter songs is substantial, yet the voice remains recognizably his.
The contrast is a large part of the album’s character. On one song, Gord sounds almost conversational, drawing listeners close through a restrained arrangement; on the next, he projects the energy of a hard rock frontman. Having written all 20 songs himself, he keeps the material tied to recurring concerns: love, loneliness, hope, self-doubt, personal revelation and mortality. Those subjects give the stylistic changes shared emotional footing.
“Under Them Neon Lights” is strongest when the arrangement matches the feeling in the writing, whether that’s the ache of “Dead Man Walking” or the unabashed release of its title track. Its length makes room for detours, but the most memorable moments are where country candour and rock energy sharpen each other. The album is streaming on all major platforms.
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