Halfway through Ted Leoâs set last night at Revolution Hall, his band, the Pharmacistsâwhich in its current incarnation consists of two additional guitarists, a drummer, a bassist, and a saxophonistâwalked off the stage, leaving Leo to perform a few songs by himself. This mini solo set began with a spellbinding rendition of âLonsdale Avenue,â the penultimate track on his new record, The Hanged Man, which the songwriter appropriately introduced as âthe second most depressing songâ in his catalog. Then he launched into âMe and Miaâ from 2004âs Shake the Sheetsâarguably his most recognizable song, and one perfectly emblematic of golden era-Leo: moddish and wound-up, disillusioned but empathetic.
Afterwards, Leo set down his trusty Gibson ES-335 and sat down at a keyboard on the far right of the stage. âWeâre about three-fifths away from âangry young man,â and toward âaging singer/songwriter,ââ he half-joked, referring to his newer, more subdued material. âAnd I think the âangry young manâ is a concept we need to have a critical reassessment of.â
This self-awareness has resulted in a graceful artistic growth that few of Leoâs peersâand even fewer of his predecessorsâcan claim. Leo seemed uncomfortable with the âangry young manâ model as far back as 2010âs The Brutalist Bricks (which, in hindsight, seems like a transitional record). The more aggressive songs on that album felt largely reflexive, at the same time that a heady, refined pop sensibility began surfacing in his work (âBottled in Cork,â âBartomelo and the Buzzing of Beesâ).
So the hour-long, Ram-worshipping Hanged Man wasnât totally unexpected, but that doesnât make it any less staggering. Even more impressive is how well this material translates live, thanks to Leoâs micro E Street Band configuration and a front line of consummate backing vocalists. Though last nightâs performance also featured a bevy of fan favorites, from âWhere Have All the Rude Boys Goneâ from 2003âs Hearts of Oak to âBiomusicologyâ from 2001âs The Tyranny of Distance. As befits his profoundly unpretentious persona, Leo aims to pleaseâMark Kozelek he is not.
But he also thankfully hasnât followed in the footsteps of his closest spiritual antecedent Elvis Costello, whose live show has essentially devolved into a Vegas revue. Leoâs live presence is basically the same as his Twitter: He readily engages with his audience and speaks in thoughtful detail about the shit that bothers him. âIâm trying to balance the song to talking ratio tonight,â he reassures us. Little does he know, we came for both.