The first of MJ Lenderman’s three shows at Music Hall of Williamsburg in Brooklyn felt like an underplay. The venue holds about 650 people, and it felt like all 650 people — and, frankly, a handful more — were present on Friday night to witness the singer, songwriter, and guitarist at the height of his powers.
As Lenderman reminded us, the last time he and his band, The Wind, played New York City was at the intimate Market Hotel, which holds around 400 people. Following this trio of shows at Music Hall of Williamsburg, the next time they’ll play NYC will be as part of their newly announced spring 2025 tour — this time with another trio of shows at Brooklyn Steel, with a capacity that doubles Music Hall’s at 1,800. Essentially, demand for Lenderman continues to grow, and last night’s utterly packed show was a testament to that fervor.
Like legions of newer fans who will jump to attend the next run of shows (get tickets here), I hopped on the MJ Lenderman bandwagon a bit late. Boat Songs made it on our list of the best albums of the year, and I kept hearing rumblings about his understated brilliance and yin-yang connection to Lenderman’s other band, the CoSigned Wednesday. But it wasn’t until I heard the pair of 2023 singles “Rudolph” and “Knockin’” that I became a true Lenderman believer.
Now, with his stunning 2024 album Manning Fireworks, Lenderman has fine-tuned his sound and offered even more complexities to his mid-tempo, countrified jams. While last year’s live album And the Wind (Live and Loose!) featured widescreen, ephemeral renditions of Lenderman’s DIY-helmed back catalog, this new tour is less concerned with being “live and loose” and more about fostering a vibe of warmth and introspection.
Sure, Lenderman’s more vibrant numbers like “On My Knees” and “Hangover Game” were always going to be met with cheers and dancing, but it was the songs about heartbreak, a shadow cast heavily over Manning Fireworks, that ended up being the most compelling.
Perhaps the more contemplative vibe was aided by the audience, packed liked sardines but watching with extreme attentiveness. It seemed as if everyone maintained the same level of focus throughout; moving around the venue, I never witnessed people yapping throughout the performance. MJ Lenderman autumn must have been in full swing, since I saw very few Halloween costumes sprinkled around the crowd. Instead, flannels, sweaters, and tote bags were the uniform of choice — all thrifted corduroy and earthy tones, no sleek leather or Brat-coded indie sleaze looks.
I had been to a show earlier in the week that catered to a demographic about 10 years younger than Lenderman’s, and when that artist came on, everyone in the room had their phones out to record. For Lenderman’s show, on the other hand, I saw a notable lack of people capturing video. Perhaps it’ll be a different story when Lenderman returns to Brooklyn Steel next year and the audience is doubled, but beyond the great music, last night proved that there are audiences still intent on maintaining an old-school, “be present for the event you paid for” vibe.
Meanwhile, Lenderman’s attitude throughout the performance was both dogged and stoic. As demonstrated on his live album, he doesn’t say a whole lot during the show, instead appearing laser-focused on musicianship and maintaining a mood. Preceding “Pianos,” a new song that appears on the Hurricane relief comp Cardinals at the Window, he took the opportunity to remind us of his Asheville, North Carolina origins and note the he was selling a special merch item on this tour with all proceeds going to Hurricane Helene disaster relief. The track itself was one of the nights’ most stirring numbers: “I’ve been walking down that street where pianos used to fall on me,” he sang as a two-chord groove came to life.
Similarly, the other heartbroken songs were nothing short of majestic. The evocative Manning Fireworks cuts “You Don’t Know the Shape I’m In” and “Rip Torn” were even more vivid and affecting than on the record, and it was a fascinating-but-needed lull when Lenderman and his band decidedly played all 10 minutes of “Bark at the Moon.”
But the most remarkable portrait of heartbreak came with his rendition of “No Mercy.” The track is over five years old now, but the pain it depicts felt fresh for Lenderman. As he rattled off a list of all the things he’d now do “alone” — sleeping, brushing his hair, taking pills — the daunting reality of cold, desperate isolation became more illuminated with each remark. As he concluded by swearing, “I will show you no mercy/ I will show you no sympathy,” it felt truly raw.
It was a pleasant surprise to expect a more rockin’ show but then get knocked on my ass from Lenderman’s saddest, most broken portraits. I’m sure it wasn’t just me; as I looked around the packed crowd, I saw a sea of mostly solemn-looking dudes standing shoulder to shoulder, taking in Lenderman’s impressionistic tales intently. It served as a great reminder of Lenderman’s multi-faceted appeal. He isn’t just a killer guitar player, a lyrical genius, or an arrangement auteur — he’s all three at once.
Editor’s Note: MJ Lenderman’s North American tour continues through October; he returns stateside for more shows in early 2025. Get tickets to see MJ Lenderman here.
Setlist:
Manning Fireworks
Wristwatch
You Have Bought Yourself a Boat
TLC Cagematch
Joker Lips
Pianos
She’s Leaving You
No Mercy
Catholic Priest
Rip Torn
On My Knees
Bark at the Moon
You Don’t Know the Shape I’m In
Hangover Game
Rudolph
SUV
Inappropriate
Knockin’
Encore
Tastes Just Like It Costs
Werewolves of London (Warren Zevon cover)