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Martin Sexton
Martin Sexton and Lucinda Williams with Chuck Prophet
July 19, 2002 @ FleetBoston Pavilion, Boston
 The double bill-plus opened with the Cream-y guitar and Petty vocal style
of young roots-er Chuck Prophet. Backed by an equally young trio, Prophet
offered a short set of blues culminating in a rather gloomy version of his
radio single “Summertime Thing.”
As the crowd continued to file in, Martin Sexton strode onstage with a
wild blown-back mane and attitude to match. Pulling right into the low end
jangle of “Angeline” (which got the crowd involved almost right away),
Sexton and drummer Joe Bonadio kept the crowd going with a diverse set that
included the funky “Beast in Me,” the bluesy “Can’t Stop Thinking ‘Bout
You” and the bouncy “Diner.” With his multi-octave range. percussive
guitar work and authentic vocal mimicry of horns and even electric
guitars, Sexton was every bit the one man band, especially during a solo
set that included the beautiful and redemptive “My Maria” and a version of
his two-toned masterpiece “Glory Bound” that brought even Sexton to his
knees. Bonadio made for a worthy partner, however, with his inventive and
resourceful percussion that included everything from wood blocks to a
watering can. Together, the dynamic duo got the crowd up and dancing and
totally into the show.
Such could not be said as much for Ms. Williams, whose frequent intermezzo
interviews with her sound crew lost whatever momentum her many up tempo
numbers provided. Amidst a bevy of new songs, such as the cynical and
sample-backed “American Dream,” the melodious “Ventura” and the rap-like
street poems “Righteously” and “Sweet Sigh,” a happy but bedraggled
Williams offered older favorites like a slightly mumbly “Car Wheels,” a
raunchy and resentful “Joy” and the harmonious dirge “Essence.” Though “2
Cool 2 B Forgotten” couldn’t quite reach the high notes, the spiritual
closer “Get Right with God” ended the official set on a high one indeed.
Premeditated encores included a jangly solo take on “Passionate Kisses”
and Howlin’ Wolf’s “Come to Me Baby.” Notably absent was “Can’t Let Go,”
but with all the new material offered, not even three encores were enough
to fit in every song.
- Matthew S. Robinson
c. 2002, M. S. Robinson, ARR
3
Martin Sexton
January 15, 2002 @ The Somerville Theater
 Though the simple set was balanced by a lathed wooden pedestal, only
Martin’s water and a well-worn towel would go there. Despite his time with
one of the world’s most storied record labels (Atlantic), the man himself
was a down to earth as ever and ready to launch the next phase of his own
storied career – the creation of his own label – with an adopted hometown
weekend stand.
As the lights dimmed, the roar of the faithful went up.
“This is a night of celebrity from a man who was put on earth to be a live
entertainer,” said emcee Perry Persoff from local AAA station WXRV.
Truer words, Perry….
Opening with a dulcet rendition of “Freedom of the Road,” the husky but
healthy Sexton bounced into “Faith,” propelled by the polyethelyned
percussives of right hand man Joe Bonadillo. Sexton’s familiar hooks dared
his audience not to sing along, but few were up to the challenge. “Where
Did iI Go wrong” revealed a heavy use of echo, but few other effects were
needed to make this an affecting performance. From the chipper jazz of
“Love Keep Us Together” (in which Martin played the role of the Captain to
hundreds of sighing Tenilles) to the first date blues of “Diggin Me” and
an acoustically funky “Beast In Me,” Martin did his best for his fans,
anecdoting and joking in between songs and making everyone feel a part.
Borrowing passages from Led Zeppelin, Bo Diddley, Cab Calloway, James
Taylor and Vince Guiraldi, Sexton demonstrated the songwriting smarts and
performance savvy that has garnered him such a devout and dedicated
following. And when he finished with a mic-less “The Way I Am” and a
personally stirring “America the beautiful,” the reminiscence of his days
in the subway brought the show and his career full-circle.
- Matthew S. Robinson
c. 2002, M. S. Robinson, ARR
2
Martin Sexton with Richard Julian
December 9, 1997 @ Johnny D's
 Though the usually polite Johnny D's crowd did not give visiting artist
Richard Julian nearly as much attention as they devoted to adopted
favorite son Sexton, the congested Julian worked diligently through a
sampling of his true-to-life lyrical tales. From the sparse and gentle
"Young and Free" to the chugging "Bottom Of The Sea," Julian displayed
quite a range in a relatively short set. Fresh from a tour with Suzanne
Vega, Julian's twangy strum and unexpected lyrical twists deserve to be
listened to, not just heard. However, the crowd was here mainly for one
reason, and he would not come on until later. As soon as Sexton took the
stage, the room fell silent, rapt with devotion to their multi-octaved
minstrel. Bouncing, swaying and prowling the stage, Sexton ran through a
comprehensive collection of his crowd-pleasing favorites -- from brave
ballads such as "Freedom Of The Road" and "Glory Bound" to the
20's-meet-the-90's ditty "Diggin' Me Diggin' You" and a cover of "Ice
Cream Man." Throughout, Sexton challenged himself and his listeners with
sounds not often heard (or even thought possible) from a solo performer,
ranging from a vocal 'bass' to a soaring falsetto, with a convincing bit
of Billie Holiday in between. Closing his set with a multi-denominational
clap-along rendition of "This Li'l Light Of Mine," Sexton returned
triumphantly to the stage for multiple encores. Though it would never be
enough for this crowd, the 'home-town' performance was grand and
fulfilling from note one.
- Matthew S. Robinson
© 1998 M. S. Robinson, ARR
1
Martin Sexton
May 6, 1997 @ Johnny D’s
 In my many pleasant visits to Johnny D’s, I have seen many great bands and
many large crowds. Never have I seen a throng as grand as that which
assembled to experience the lyricism of Martin Sexton!
When Sexton began his set, the line to get in trailed down the block and
did not let up for some time. Though the bar section was a bit too noisy
for some fans, the crowd in the main room swayed silently as one.
Mixing a childish, whispery whine with soulful calls, feline wails and
even the occasional yodel with the subtle accents of melodic picking and
percussive scratch and chop Sexton swept from up-tempo standards like
“13-Step Boogie” to gorgeous ballads like “Glory Bound.” Though Sexton
tuned and teased throughout the night with samples of Yes’ “Roundabout,”
the Dead’s “Jack Straw” and even the theme from “Green Acres, “ it was his
original work which truly captivated the crowd. From the insightful
“Animals Rule,” which explains how women love pets more than men to the
bluesy “Hard Times” -- complete with mouth-horn (a la adults on “Peanuts”
specials) -- Sexton had his home-town fans fully on his side from start to
finish. Despite the crowded conditions, everyone seemed comfortable and
happy to be there.
Such is the wonder of great music!
Watch for Martin at Falcon Ridge Folk Festival and anywhere else he may
choose to work his magic.
- Matthew S. Robinson
© 1997 M. S. Robinson, ARR
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