MJ Lenderman Wraps Up Manning Fireworks Tour In NYC

Written by Andrew Nussbaum

An alt-rock revival has been reshaping the landscape of indie music. Soaring pedal steel rhythms and crunchy, Crazy Horse-like guitar chords reverberate from their North Carolina epicenter, tapping into hardy Americana roots that imbue rock with a countrified soul. Singer-songwriter Jake ‘MJ’ Lenderman is the savior of this movement, leading the charge by penning heart-wrenching and relatable songs that mix the sacred with the mundane. 

2024’s Manning Fireworks is the current crowning achievement of the revitalized genre, featuring vignettes of down-and-out “losers” navigating the hairpin turns of life, resonating with a young and disillusioned generation. 

Lenderman’s concert at King’s Theatre in Brooklyn on October 16 was a celebratory conclusion to his year-long tour in support of Manning Fireworks. Over the course of 80 minutes, Lenderman and his band, The Wind, swept the crowd with a swirling sample of his recent album, alongside deep cuts and unreleased songs. The set was a testament to Lenderman’s prolific back catalog and a prophetic look at his future path. 

Easing into the night with the Manning Fireworks title track, Lenderman demonstrated his ability to write a restless verse: “Birds against heavy wind, that wins in the end,” he sang, shedding light on the futility that echoes throughout many of his songs. The heartbroken essence of this opener continued with a cover of This Is Lorelei’s “Dancing in the Club,” which Lenderman has made his own, lamenting the loss of love through forlorn delivery. 

The devastation of the set openers wrapped up with the rollicking “Rudolph.” Here, Lenderman excels at blurring generational lines, blending facets of pop culture into a rousing narrative. He manages to cleverly relate lines like “Lightning McQueen Blacked out at full speed” to folk scripture, such as “How many roads must a man walk down ’til he learns?”

The unreleased track, “Picking up the Pieces,” followed, marking a peak of the set. Lenderman channeled the tender sorrow of Townes Van Zandt, reflecting on the aftermath of a relationship. The delicate solo guitar at the start built to a powerful crescendo, returning to his fuzzed-out fundamentals.

The following tracks, “Joker Lips” and “Wristwatch,” were crowd-pleasing sing-alongs that elevated the set’s energy. Hearing fans belt out “You know I love my TV,” and “I’ve got a houseboat docked at the Himbo Dome,” was a window into the quirky resonance of his work, which is both of its time and timeless. 

After additional fan favorites like “Rip Torn” and “On My Knees,” Lenderman launched into the magnum opus of Manning Fireworks, “You Don’t Know the Shape I’m In.” Lenderman’s song traverses the desolate suburban sprawl that informs much of his writing. “We sat under a half-mast McDonald’s flag,” he sang, capturing the heavy-hearted humor that often characterizes his work. 

Lenderman concluded the set with one of his hidden gems, “Left Your Smile,” dating back to his 2019 self-titled debut. Reaching somber heights similar to those of Neil Young’s “ditch trilogy,” the song’s slow burn mounted with a blistering conclusion, as the twin guitars of Lenderman and band member Jon Samuels took the set across the finish line.

The Wind returned for a one-song encore, led off by bassist Landon George, encouraging New Yorkers to vote for Zohran Mamdani in the upcoming mayoral election, demonstrating how the group’s socially attuned messaging extends beyond the scope of their songs. The PSA was followed by a forceful performance of “Knockin‘,” a common encore for Lenderman, played with an uncommon urgency that spoke to the conclusion of their marathon tour.

MJ Lenderman’s King’s Theatre performance was a fitting bookend to this album cycle. As Manning Fireworks continues to cement itself in the alt-rock canon, I am excited to see where MJ’s rough and ragged muse takes him next. 

Check out upcoming dates for MJ Lenderman & The Wind here.