Ron Sexmith @ The Gov, Adelaide 25/4/2026
Ron Sexsmith doesn’t rush things. “There is eight to ten years between tours and in those years, I release a bunch of albums. I would like to play some of those songs for you”. The faithful had turn out in droves to The Gov, to hear these songs, from the Canadian singer/songwriter.
As the lights dimmed, three gentlemen took to the stage, and after enthusiastic applause, a hush engulfed the room. This may have been the quietest audience I have ever seen, at least during the playing, as the people let the music soak in. In fact, when one table dared to chatter during a song, they were met with swift, vocal calls of “be quiet” from the surrounding people.
As the opening guitar chords of Former Glory commenced, a ripple of applause of recognition sounded out. No break between songs, Please Don’t tell Me Why from his latest album, Hangover Terrace followed. Another new one, Rose Town came quickly, with what sounded to me like a very Rolling Stones influenced intro. Great stuff.
Finally pausing for a few words, Sexsmith offered a cheeky greeting: “Welcome to the show. I don’t know where to look, everyone is everywhere.” When a mischievous lady in the front row suggested he look at her all evening, Ron simply replied with a deadpan, “Ok.” With Strawberry Blonde, from 1997, Ron explained the Strawberry Blonde was a composite of four or five different girlfriends from his younger days.
Backing Sexsmith were Jason Mercer on bass and Don Kerr on drums and backing vocals. Their sound remained subdued for most of the evening—a masterclass in restraint that held the delicate arrangements together perfectly.
Ron moved to piano for Worried Song, but as he started playing, he noticed something wrong and stopped. “The sustain pedal is not working” he said and the audience quickly sang out suggestions. “Turn it on” was one, “Plug it in” was another and then “Flick the switch”, which did in fact make it work.
When Ron moved back to guitar he looked at the set list and commented “There’s some good songs there”. He wasn’t wrong. The career-spanning selection saw older gems blend effortlessly with new tracks.
The new Cigarette and Cocktail was a lot of fun, looking back at life of an age long gone. The songs all evening were a reflection of Ron’s life or of life in general, some sad, some fun.
Jason Mercer left the stage and Don Kerr moved to piano for a hauntingly beautiful God Loves Everyone. Kerr then departed, leaving Sexsmith alone under the spotlight. “Hope you don’t mind me playing a song solo. Even Bono likes to do one solo to take the edge off,” he joked before delivering a hushed, intimate version of Sneak Out the Back Door.
The full band returned for more Hangover Terrace material in Don’t Lose Sight and Damn Well Please. Back on piano, the band gave us This is How I Know, “It’s from my most ambitious album, Exit Strategy of the Soul, and least successful. I recorded it all over the world and I am still paying for it” Ron told us, “But I like it”. Gold in Them Hills followed before Ron moved back to guitar for Get in Line from the 2011 album Long Player Late Bloomer. The song apparently got to number three in the United Kingdom, but not in Australia or Canada.
His most covered song, 1992’s Secret Heart closed out the set. “It has been covered by Rod Stewart and Leslie Feist and others, and I think Bing Crsoby may have done a version” Ron laughed as the set drew to a close.
Despite an apology for “making a bunch of mistakes. I think the band made some too due to tour fatigue”, the audience wasn’t hearing it. They rose for a well-deserved standing ovation.
They were back in about a minute, Ron on piano for There’s a Rhythm and then moving back to the guitar for the closing, All in Good Time and Seem to Recall double punch. With a “Hope to see you again someday. Thank you”, Ron left the stage.
This was my first time seeing Ron Sexsmith live. While researching the gig, I found a 2015 quote from critic Steve Bell: “This must be what it’s like when a Canadian watches Paul Kelly.” Given the reverence we hold for Kelly, it’s a comparison that sums up the night perfectly.
Let’s just hope we don’t have to wait another decade for the next visit.
Live Review By Geoff Jenke