Keyboardist and backing vocalist Adriel Harris accompanied Chisel on a Nord synthesizer, providing haunting, southern-styled, churchy arrangements and dulcet harmonies. Highlight "Born Again" filled the venue with hooks, creepy organ and gritty, Midwestern grace.

Before I proceed, I want to make it clear that Frank Turner normally sells out Pageant-sized (and bigger) venues across the pond with ease, so the crowd's hum and buzz of anticipation was more than appropriate. It was clear they were ready for exactly what they knew they'd get: a very rare and intimate show from this British, punk-folk troubadour.

The crowd tightened around the stage as Turner's crew (personal sound guy included) performed a quick set-up and sound check. Soon, Turner appeared on stage with his backing band, the Sleeping Souls, and quickly leapt into "Eulogy," from 2011's "England Keep My Bones." Turner proclaimed, "Not everyone can be Freddy Mercury," before drummer Nigel Powell dropped a spacious drum fill and propelled the song from singer-songwriter balladry to a full-blown, nigh-Irish sounding, punk-infused rock-out.

Turner sustained the up-tempo action with "Try This at Home," from 2009's "Poetry of the Deed." The song bounced along with heavy strumming, tight, articulate vocalization from Turner and bright organ accents from keyboardist Matt Nasir. Turner swayed his hips like a country star and waved at the crowd with a red, white and blue sweatband adorning his strumming arm. On "If Ever I Stray" the crowd howled along during the quieter, introspective verses and threw their fists into the air for the "1,2,3,4!" that proceeded the chorus' drop.

Turner brought the tone down on "I Knew Prufrock Before He Got Famous" from 2008's "Love, Ire and Song." The crowd belted the ballad back at Turner with a gusto that would have made T.S. Eliot smile quietly from his muddy, English grave.

"I Am Disappeared" rang out with a light, yet rugged U2 vibe, while "Love Ire Song" sat firmly in the singer-songwriter mode, as Turner explored themes of growing up and politics, puffing off "fucks" with a grand glibness and well-timed strumming. On fan-favorite "Substitute" Turner called out, "Music is my substitute for love," to cheers from the sweating crowd.

Turner confessed his love for his English hometown during "Wessex Boy," while guitarist Ben Lloyd strummed an electric mandolin during the ebullient choruses. Turner offered up a new tune, tentatively called "Tattoos," which shared his love for body art, both pointless and purposeful, with the like-minded and inky crowd.

On "Dan's Song," Turner taught the audience to play the air harmonica (How to play: hold your hands to your lips like you're holding a harmonica and yell "Wew!") and urged the venue, now full of air-musicians, into the song with impressive ease. "Four Simple Words," another new tune, asked the audience to break out into a Broadway-style routine, dancing on tables etc. Turner was only slightly disappointed when it didn't happen.

The singer entered into the hit-packed, back-end of his set with the itinerant, gypsy-rambling "The Road." The crowd shouted the words back at Turner as the Sleeping Souls pounded out distorted guitar, thumping bass and wild organ. Turner charged on with "Peggy Sang the Blues," the lamenting, yet sunny, "Long Live the Queen" and the celebratory and moving "I Still Believe."

To conclude his set, Turner dropped his acoustic, picked up the microphone and wandered the stage, pumping his fists, singing a mind-numbingly enigmatic cover of Queen's "Somebody to Love." Turner made good on his words during "Eulogy" -- not everyone can be Freddy Mercury, but some (Turner included) can come close.

Turner and the Sleeping Souls briefly left the stage and returned with the obscure, yet memorable "The Next Round," a song about drinking whiskey, from 2010's "Rock and Roll" EP. He closed out his encore with "Photosynthesis," a pun-filled, playful ballad that ended the evening on an incendiary high note.

Turner and his band left the stage a final time to a song-drunk, happy crowd, pleased to have witnessed such a one-of-a-kind show. Cheers, Frank.