Sexsmith in Sync With Troubadour’s Tradition

You could feel the magic of the old Troubadour in the West Hollywood club Thursday night as Ron Sexsmith played 90 minutes of the songs that make him one of the most promising singer-songwriter arrivals in years.

In the ‘60s and early ‘70s, the Troubadour was the national showcase for folk-based singer-songwriters, hosting such quality artists as Joni Mitchell, Tim Hardin, John Prine, James Taylor and Randy Newman.

Sexsmith, a baby-faced 33-year-old Canadian whose second album has just been released by Interscope, ranks with them. He doesn’t just reach the high Troubadour standard once or twice during a show, but can match many of the club’s greats song-for-song for an entire set.

Though he would benefit from stronger stage presence and more humor in his repertoire, Sexsmith combines marvelous melodies with insightful, but understated themes about life’s quiet, wistful moments.

Backed by a bassist and combination drummer-guitarist, Sexsmith sings in a pure, unassuming style that is ideal for his questioning, philosophical tunes. When he sang a vigorous version of John Lennon’s “Nowhere Man” during the encore, it seemed most certainly the show closer.

Yet Sexsmith had the confidence to follow with one of his own tunes and the song, “April After All,” is so beautifully tender that Lennon--an occasional Troubadour visitor in the ‘70s--would have no doubt been awed. This guy’s for real.