Ron Sexsmith—Hangover Terrace

My journey with Ron Sexsmith began many moons ago. I had heard his name in passing but had never actually listened to his music. That changed when I signed up for the newly launched eMusic service in the early 2000s. Its business model let you download as many albums as you wanted each month, which didn’t last long for obvious reasons. While browsing, I stumbled across Ron Sexsmith and thought, why not? I downloaded "Blue Boy" and "Cobblestone Runway" and played them to death. It also felt fitting that, now living in Canada, I had finally discovered an artist who was creating music right here on his home turf.

The next album that truly stood out for me was "Long Player Late Bloomer", which became a constant companion for a good while. Around that time my kids were toddlers and, truth be told, my days of exploring new music were put on pause. Even so, Ron’s music stayed with me through that chapter of life.

So here we are in 2025 and, lo and behold, a new release from Mr S. caught my eye. It felt long overdue and it was nice to finally have the chance to review an artist I have been meaning to revisit for far too long.

The album opens with "Don't Lose Sight" and immediately restores the sense that he had never been away. That familiar warmth in his voice sets the tone, carrying that unmistakable musical swagger that has always made his work feel like a comforting return. From the first moments, you are welcomed back into his world.

Tracks like "Cigarette and Cocktail" and "Damn Well Please" bring a playful energy, each carrying a childlike lightness in their melodies while the lyrics cut in a very different direction. Both songs capture that upbeat, carefree bounce he does so well, with the latter feeling almost like a cheeky response to anyone who ever doubted him.

A softer and more reflective side emerges with "Easy For You To Say", where the strings gently colour an already simple and effective tune. That leads into the darker and more atmospheric "Camelot Towers", which unfolds with a Leonard Cohen style weight. It builds tension until his voice enters and anchors one of the album’s strongest moments.

The mood then shifts again with the easy sway of "It’s Been A While" and the relaxed charm of "House of Love", which feels like a nostalgic drift through memories of an ideal home or perhaps the artist’s own youth. "Rose Town" follows as a lively, foot tapping highlight that feels ready made for radio.

"Please Don’t Tell Me Why" returns to that signature quirk, while "Outside Looking In" leans into a softer interpretation of a seventies vibe, especially through its acoustic guitar work. "Angel On My Shoulder" stands out for the intimacy created by the audible fretwork and the arrival of cello and strings, elevating a track that already feels deeply personal. "When Will the Morning Come" keeps the energy high, while "Burgoyne Woods" brings a distinctly different feel with its punchier strings and narrative focus.

The album closes with "Must Be Something Wrong with Her", a finale that fits perfectly within his long tradition of heartfelt and beautifully crafted closing tracks. It wraps the record with clarity and confidence, ending an album that balances lightness, reflection, and emotional depth.

For me, Ron Sexsmith stands alongside greats like Leonard Cohen, James Taylor, and even Billy Joel, artists who truly understand the craft of storytelling through song. His music is heartfelt and deeply engaging, and every so often he’ll surprise you with a tune you simply can't shake. He remains, without question, a treasured Canadian gem.