B l u e P a r a d e - A S a r a h S l e a n F a n s i t e
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Concert Review: Ron Sexsmith with Sarah Slean @ Elixir
At the end of Tuesday night�s performance, drummer Don Kerr stepped up to the mic and raised Ron Sexsmith�s arm: �King of the World!� he said, pointing to the shy and modest musician who just might be the greatest Canadian songwriter of this generation. After 22 songs and more than 100 minutes of music, the audience at the Elixir certainly agreed.
But what really happened to give credence to this proclamation? Were there extravagant pyrotechnics to complement the aggressive thrashing guitars? Were there throngs of girls screaming louder than the music? Hardly. The show only offered the music of an incredibly gifted individual and his equally talented band�and that was all this crowd needed.
Sexsmith�s stop in Kingston on Tuesday night was in support of his latest record Retriever�a small dose of radio-friendly pop sprinkled over beautifully crafted lyrics. Despite the success the album is having and how well the songs stand up against the rest of his catalogue, the new numbers comprised barely a quarter of the overall set. Sexsmith�s song choices encompassed all eight of his records, including �Speaking With The Angel� from his first album�a song he introduced with his usual self-deprecating humour claiming it was the one that �led him to superstardom� and becoming a household name.
Sexsmith may not be a household name, but he is a superstar in the eyes of many. While he may be humble on stage regarding his own talent, he casually mentioned Sarah Harmer, Nick Lowe and Rod Stewart as musicians who have covered some of the tunes he played Tuesday. Some musicians would sound egotistical boasting as such, yet Sexsmith seemed instead to be sharing his pride with the audience, the way a parent displays an A+ test on the fridge.
In his constant interaction with the crowd, Sexsmith developed a rapport with the audience that would make even the most nervous performer feel at home. Though billed as �Ron Sexsmith,� he made it clear that any show was a group effort, often drawing attention to the band: guitarist Tim Bovaconti, bassist Jason Mercer and drummer Don Kerr.
Kerr plays an especially important role in the Sexsmith lineup as the two have been collaborating since the late �80s. They previewed a new song from a record they are making called �One Less Shadow� which will sound just as great on the radio next summer as �Whatever It Takes� sounded this past one. With more than 15 years of friendship comes the ability to write songs that bring out the best in both artists.
His stage presence is a �how-to� for young performers who wish to make a career of their aspirations. Not once did he ignore the audience, constantly thanking them for spending their time with him and the band. Rather than making the crowd feel like they were visitors in his environment, he made them feel like he was a guest in their home.
The audience repaid the favour with their attentive silence--an impressive accomplishment for any performer playing in a crowded bar. This was a crowd so happy to hear Sexsmith perform there were times during his set when you could�ve heard a pin drop in the Elixir, giving songs like �Secret Heart� and crowd favourite, �Gold In Them Hills� the respect they deserved.
The latter began a piano interlude prefaced with an apology for not being as good a pianist as opener Sarah Slean. The crowd didn�t seem to mind a bit.
Slean�s 10-song opening set stood out as a fine example of a maturing songstress, which thankfully most of the sold-out crowd witnessed. Oozing with sex appeal, Slean sounded incredible as she swaggered behind the piano and around the stage. Although claiming at times to be suffocated by her instrument, she clearly is at her best with keys in front of her.
Sexsmith returned to the piano in the encore, but only after breaking out a cover of his own�a staggering version of The Clash�s �Bank Robber��somewhat of a departure from his impressive repertoire. Yet being the consummate artist he is, it sounded almost natural coming from him.
To close the night, Slean was invited on stage to join in on a stunning back-up vocal harmony with Kerr and Bovaconti, a perfect accompaniment to the beautiful �Riverbed� from 1999�s Whereabouts.
Once more the audience was eerily silent until the song�s conclusion and Kerr�s aforementioned victorious declaration. The subsequent eruption from the crowd was well deserved, and the crowd left knowing they had just witnessed a great show by one of the finest songwriters Canada has ever produced.
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