In 2011, it’s refreshing to go hear a singer-songwriter and find yourself at a rock concert. Not “indie rock” (although Bazan does release albums on an independent label), and not “folksy” (although there is a lovable folkiness to Bazan’s lyrics and vocal delivery). Just good old fashioned Seattle rock and roll. Loud barre chords, a Tasmanian Devil of a drummer, and nary a song over four minutes. In today’s indie climate of falsetto vocals, droning guitars, lo-fi synths, and classical instruments (all of which I love), there’s beauty in kicking ass and rocking out.

That’s precisely what David Bazan did at the Bowery Ballroom on June 22nd, delivering a set of mostly fast-paced, hard-edged rock music drawn from his solo releases – including his newest, Strange Negotiations – and also his well-known earlier work with Pedro the Lion. He began with the new album’s opener, “Wolves at the Door,” a straight-ahead rock tune with a distorted, syncopated guitar riff and a strong, driving drumbeat. Bazan’s boisterous songs conceal his introspective, soul-baring lyrics often dealing with the travails of modern life. Sometimes it was hard to make out the poignant lyrics behind the ringing distortion of his telecaster, as he sings in the opener: “How the light has dimmed/and how the fear of everything/is creeping in.”

It wasn’t until the sixth song, “Virginia”, that Bazan matched the quiet intimacy of his lyrics with his music, unfolding with simple plucked chords while the talented multi-tasking drummer, Alex Westcoat, provided keyboard accents. The song suggests the religious past that Bazan has fully confronted in his lyrics, singing to the eponymous girl: “We were worried about your personal salvation/was it heaven or hell that you saw when your eyes closed.” “Virginia” provided a tender moment that gave an even more energetic blast to the following “Big Trucks”. This Pedro the Lion favorite spiked the crowd’s energy, as head nods and foot shuffles turned into full-fledged body swaying and jerky dancing.

The one song that bore a resemblance to much of today’s post-rock indie music was “Won’t Let Go”, full of droning chords that swelled in volume from the guitar, and a more nasal quality than Bazan’s otherwise homey, grizzly baritone. It provided a nice link to S. Carey, one of the musicians of Bon Iver. In place of Justin Vernon’s ubiquitous falsetto was Carey’s strong tenor, accompanied with lush three-part harmonies and occasionally a driving, four-on-the-floor bass and drum charge. Carey’s fiery percussion duet with drummer Zach Hanson was a highlight, building the opening set to a peak of intensity, while his band’s layers of textured sound kept the crowd enraptured.

Bazan’s set showcased an excellent stream of pop/rock songs with slightly unconventional harmonies, yet, they still manage to convey a simple, stripped down aesthetic. But there were a few breakout moments. “Eating Paper” saw a short guitar solo, but packed with a frenetic, Neil Young-esque energy replete with intense harping on a few notes. “Magazine” began with scratching, angry muted guitar strumming, leading to a artful harmonizing of riffs between Bazan and bassist Andy Fitts.

One of the most endearing moments of the evening occurred when Bazan asked if anyone in the rather polite and quiet-after-applauding audience had any questions. Fans seemed prepared for this, and for a moment it seemed as though this was a novelty. Yet Bazan regarded his fans’ interests with genuine sincerity, answering all questions from the absurd (“Why are you so handsome!?”) to the candid (“Do your kids like your music?” The answer: “Yes, but they prefer the Flaming Lips.”), showing a tremendously humble rapport and honesty.

Setlist
Wolves at the Door
How I Remember
Level With Yourself
Bless This Mess
Monarchs
Virginia
Big Trucks
Don’t Change
Eating Paper
Bearing Witness
Magazine
Won’t Let Go
People
Transcontinental
Cold Beer & Cigarettes
When They Really Get To Know You They Will Run
Strange Negotiations