EDMONTON - Some songwriters overthink their work, injecting deep symbolism and subtle nuance into a forgettable three-minute pop ditty that ends up on a soundtrack to an Adam Sandler movie. It must be frustrating.

Bryan Adams doesn't seem to have this problem.

If that isn't obvious from his entire catalogue of down-to-earth, romantic rock-pop anthems, he gave another clue during his acoustic show at the Winspear Centre last night. He talked between almost every song in the space normally reserved for overthinking songwriters to explain their deep symbolism and subtle nuance. Bryan noted that people often ask where he gets his inspiration.

He said, "It really could be something as simple as a good sandwich."

That explains everything! It explains Cuts Like a Knife. He was making a bologna with mayo, nicked himself with the bread knife and thought about how the pain reminded him of breakup, yet one that feels "so right," which sort of rhymes with "knife," and bam! A career was launched right there at the kitchen counter.

Perhaps I'm reading too much into this. I'm sure Bryan's fans are fully aware that his songs don't require a thorough reading of Celtic mythology, that they are simple songs expressing simple, yet powerful, emotions, that they are built sturdy and catchy and tailored for his master showmanship.

Stripped of its usual rock band setting yet none of their essential energy, Bryan's songs came alive on stage last night like they rarely have before. We heard everything from raucous shuffles like Can't Stop This Thing We Started to poignant ballads like When You Love Someone. There was even a new one called I Thought I'd Seen Everything.

Carried by his trademark airy rasp, with his own acoustic guitar as accompaniment, every cliche rang out loud and clear. Cheers rang out with such familiar lines as "it's so damn easy making love to you" in Run To You or "cause I never touched somebody like the way I touch your body, now I never want to let your body go" in Let's Make a Night To Remember.

And that it was.

This sort of thing tends to separate the men from the boys. For the most part, Bryan carried off this acoustic hit parade by himself, only occasionally using hired pianist Gary Bright or deploying the dreaded round-the-neck harmonica holder.

Talking about his new album, 11, he mentioned that some critics were trying to figure out what the title meant, when the simple truth is that "it's my 11th album."

This is as deep as it needs to be.