In his welcome return to The Music Hall last Tuesday, Bruce Hornsby captivated a full house with his rich, stylistically diverse music in a warm and intimate solo setting. Drawing on music from his latest CD box set release, “Intersections 1985-2005,” and sprinkling in a few new tunes, Hornsby took the audience on a fantastic and classy ride all evening long, which included a free copy of “Intersections” to all who purchased a ticket to the show.

It had been several years since I’d really listened to Hornsby’s music, and this was my first opportunity to hear him in a live setting. Most of my exposure had been by way of his early recordings, but as other music came into my world, I was drawn away.

Hearing him on Tuesday, I felt like I was reacquainting myself with an old friend, but one who has grown and expanded and who looks to the future with anticipation and excitement. This was evident in the music played on the two-and-a-half hour, two-set show. Hornsby was not content to give rote performances of his classic tunes—as he jokingly quipped to the audience, “I’m not necessarily here for a nostalgic night out….” Instead, he gave his music new interpretations, casting the songs in an imaginative light. Songs such as “Harbor Lights,” “Sticks & Stones,” “Talk of the Town,” “Shadowland” and “Long Valley Road” were all re-interpreted and given a new perspective. Making use of the full range of the piano, with a synthesizer adding subtle orchestral overtones on several selections, Hornsby used old music to create new sounds. Hornsby is a formidable player with a personal style that incorporates influences from Professor Longhair to Bill Evans, Jerry Lee Lewis to McCoy Tyner, and many of the songs were expanded to include incisive piano improvisations that gave the songs an added dimension. As with his song-writing, his playing style is more subtly implied than overt, and his vocal style is equally expressive and distinctive. Hornsby’s enunciation of the lyrics was clear, precise and understandable, as heard on “Harbor Lights” and “Angels from Montgomery.”

Hornsby wove tunes together skillfully, segueing seamlessly from “Angels from Montgomery” into Bonnie Raitt’s “I Can’t Make You Love Me,” which was a personal highlight of the evening. Other instances included the insertion of a Bach-like classical interlude on “Gonna Be Some Changes Made” and the insertion of a jazz-inflected “Danny Boy” in the song “End of the Innocence.”

Hornsby displayed a relaxed, almost shy stage demeanor. He engaged the audience in playful, humorous banter throughout the show, as several in the audience called out song requests. He also offered humorous asides and stories from his career, including the story of his father keeping a spoon in the family car in order to sneak helpings of ice cream from Hornsby and his siblings, a story which led into the song “The Dreaded Spoon.” Another humorous highlight was a new tune from a future musical that pokes fun at Donald Trump. Hornsby also played “Charlie, Woody & You,” a new tune from a forthcoming jazz recording (with Christian McBride and Jack DeJohnette providing rhythmic support). The concert finished on a powerful note, with a burning rendition of “Spider Fingers.”

The enthusiasm of the audience was highly palpable and gave the show its electricity. Among the longtime Hornsby fans in the crowd was Portsmouth resident Paula Rais. When I asked her what made the show so special for her, she told me, “…I’ve always enjoyed the way he plays piano and his songs have a high level of tension and release. As for his lyrics, they’re just …so real.” That’s how I would sum Bruce Hornsby—a musician who is unpretentious and is as real as it gets. Thanks Bruce, for a memorable and creative evening.