The evolution of an artist is an interesting thing. During his heyday with post-hardcore band Thrice, few, if any probably saw frontman Dustin Kensrue pursuing a career as an alt-country singer-songwriter. And yet, that’s exactly what’s happened. His most recent album, Desert Dreaming, is arguably his most overt country album and arguably the best of his career. Kensrue highlighted that album in full scope this past Saturday at Orlando’s The Social.

Clad in cowboy hat Kensrue was stoic, cerebral and subdued from the very start, but not without humor. After ringing and radiant opener “Back to Back” he made a quip that his harmonica was “soaked with beer” and his next song “will be interesting.” That song “Pistol” was plaintive, lilting and buttressed by wilting pedal steel. Kensrue leaned into his twang and croon in the song’s latter stages and it was the first of many indications that this new country veneer fits Kensrue like a glove.

Caroline Glaser from Brother Bird (more on her later) lent her vocals to the sweeping and poetic “Death Valley Honeymoon” which was smooth, effortless and without flaw. Ditto for the whiskey-soaked and tortured “Lift Your Eyes” a hazy and hypnotic effort that leans heavy on steel guitar. A tambourine signaled the opening for the aching and weary “Consider the Ravens.”

In an attempt to elevate the mood the hip-shaking and beer-swilling “High Scalers” from Desert Dreaming followed and the entire thing felt bigger than the evening. A pointed social critique “High Scalers” was polished, potent and profound. One of two cover songs followed in the form of Roger Miller’s “Not in Nottingham” an ode to Kensrue’s father, who introduced him to country at an early age and played that song often while watching Disney’s animated Robin Hood film. In Kensrue’s words: “This song represents the deepest root of my love for country music.”

That penchant for country was illustrated in his reinterpretation of Carry the Fire love song “Of Crows and Crowns.” Leaning heavily on the pedal steel was something Kensrue was quick to note: “This version is the closest to the original idea of the song.” Sweetly affecting from the very first seconds “Of Crows and Crowns” was one of many memorable moments from a set list that had few, if any, flaws.

Before rattling off the slow-moving “Treasure in the West” Kensrue was quick to note: “I’ll try not to go nine years between records. I got lots of ideas and more music should be coming. We’ll see.” That sense of optimism served the song well as “Treasure in the West” was but one of many examples proving that Desert Dreaming is an album many years in the making and tailor made for Kensrue and his craft.

Another quip about his beer-soaked harmonica opened the winsome and defeated “There’s Something Dark” a tortured and weary effort that hushed the sold-out crowd in seconds. That sense of stillness lifted during fan favorite “Blood and Wine.” Robust and rousing “Blood and Wine” was the perfect showcase for Kensrue’s backing band The Brevet to shine. None shone brighter than drummer David Aguiar who was downright mesmerizing behind the drum kit. Once the song finished, Kensrue even noted: “We sped it up for y’all and you still kept up.”

The set list then returned to Desert Dreaming with the timeless honky-tonk effort “Leaving Tonight for Santa Fe.” Buoyed by poignant pedal steel and Aguiar’s backing vocals it was a tender and well-placed effort from a night with few, if any hiccups. Before introducing the wistful “The Heart of Sedona” Kensrue was quick to note: “The band and I did not have much time rehearse much before this tour, so let’s take a moment to recognize them.” That sense of humility has always been a trademark of Kensrue but for this evening it felt especially prescient. Truth be told, The Brevet were an exceptional backing band and breathed infinite life into these new songs that rely so heavily on texture and atmosphere. The sorrow-laden “Blanket of Ghosts” followed before Kensrue offered up arguably the evening’s most memorable moment.

The Chainsmoker’s ubiquitous hit “Closer” was given a full country makeover replete with harmonica, lap steel and Kensrue’s brilliant vocals. That the pop smash was so expertly reworked should not be a surprise. Over the course of his solo career Kensrue has always been one to tackle contemporary pop songs and remake them in his image. “Closer” was no exception and an apex moment from a truly memorable night. The set concluded with title track “Desert Dreaming” and made for a well-placed bookend to a truly sterling set of live music.

While Kensrue’s set was worth accolades the same could be said for both openers. Southern California rock outfit The Brevet, who also served as Kensrue’s backing band, were magnetic, dynamic and had a swagger and presence that deserved larger stages. Mixing Petty-esque heartland rock with the soulful growl of Nashville’s Needtobreathe, the set was eye-opening and something quite profound.

Marking only their second visit to Orlando, the quintet made quick work of their 45 minute set. Whether it was the bursting opener “Moving Mountains” or the sun-drenched “Matter of Time” the band’s first eight minutes were titanic. Top-down rocker “Embers” was open-hearted and full-bodied whereas “Gateway Drug” was vibey and full of flair. An outro of Biz Markie’s “Just a Friend” only helped accentuate the brisk set. Windswept effort “Feels Like” and “Paris” were the two most arena-ready efforts of the lot, while “Flames” was awash in slide guitar and vocalist Aric Damm’s towering vocals. The yearning and bright-eyed “So Long” closed out a set that felt akin to a major label showcase set.

The evening opened with the aforementioned Caroline Glaser aka Brother Bird. Her six song set was without flaw and highlighted her sultry and lingering vocals. Opening with the cylindrical and alluring “Famous” Glaser took to the keys for a song that married a languid and hazy veneer with searing guitar work.

The immediate and accessible “Quitter” followed and allowed Glaser to once again highlight her work on keys. There was a distinct hint of Dolores O’Riordan from the very first seconds of “Quitter” but that comparison was erased by the song’s latter stages and once again yielded to a rollicking guitar outro. Gauzy ballad “I’m Sorry” was arguably the set’s best moment and featured arguably the best lyrics of the evening. A slow-moving firecracker “I’m Sorry” is anchored by the verse: “Stay there, a magnetic frame on the fridge where we’d be like nails in the hardware, steady forever, I’m sorry.”

Vibrant cut “Always” burst with urgency and featured a propulsive and percussive outro while the languid and hazy “Something Better” borrowed the same sonic veneer as “Famous” and Quitter.” Glaser closed out her set with the spikey and slender “Doomsday.” Much like The Brevet’s set ‘s 30 minute opening slot felt something more akin to a record label showcase set.

For those in attendance, this past Saturday night at The Social was something worth treasuring. Live music when done right is unmatched in its transcendence. All three bands seem to understand exactly that and very much rose to the occasion. The end result is something truly peerless. What a time to be alive.