"These are the most complicated piano parts I've ever written," warned Rufus Wainwright, on stage by himself at Benaroya Hall Sunday, Nov 8. "So, we're switching into rehearsal mode. If I mess up...please don't ask for your money back."

A laugh from the crowd, a hair flip from Wainwright, and the opening lyric: "Give me what I want and give it to me now."

It was classic Wainwright, semi-fake-worrying he'd disappoint, knowing deep down he wouldn't. His rich, baritone singing voice was in fine form on the song and throughout Sunday's concert.

The tune sounded a little like an over-wound music box, a little like a carnival. Wainwright said it was new and would be on his next album. He messed up a little in the beginning. Nobody cared.

Another new song, also slated for the as-yet-unnamed album—"What Would I Ever Do With a Rose?"—put Wainwright's voice to the task of wondering why on Earth he'd ever want a rose when it wouldn't get him high, by, or the guy. He scored with words but did himself one better on grand piano, playing sparely one moment and busily the next, turning the instrument into a harp with flowery left-hand runs and right-hand octave riffs.

Wainwright said he'd performed both songs only once before, the previous night in Phoenix, AZ.

Another notable new song was "Sonnet #20," which Wainwright said was "by William," meaning Shakespeare. Before playing it, Wainwright explained the sonnet was sexual and androgynous, that people think it's about a woman, but it's not. He then recited the poem slowly but not slowly enough for its meanings to sink in. More reflection was possible while he sang—and it was a beautiful thing, Wainwright meditatively singing Shakespeare—but here's betting a few audience members went home and looked up the words to "Sonnet #20" (or "A woman's face with Nature's own hand painted").

The best-sounding not-new songs of the evening were "Gay Messiah," for which Wainwright stood at the front of the stage with acoustic guitar, eyes closed, lost in the moment, and "The Art Teacher," which got big cheers. Wainwright sped through the song (about unrequited youth and adult love, and art), and gave the Phillip Philip Glass-y piano part a little more moodiness than usual.

Wainwright encored with his ever-popular cover version of Leonard Cohen's "Hallelujah," accompanied on vocals by Joan Wasserman Wasser, the concert's opening act.

The sound from Benaroya's speakers was mostly excellent, but occasionally Wainwright's voice was too loud and his piano muddy.

Wainwright got a few standing ovations from the audience over the course of the night, a couple hundred sighs whenever he glided into a particularly impressive note with his singing voice, which happened often, and eager laughter at any and all jokes attempted. It's the same every time he comes to Seattle: packed house, adoring crowd.

But the new songs gave Wainwright's solid concert a little extra significance, which is that his new album sounds like it'll be good. No doubt another Seattle venue will fill up when he comes back around to tour in support of it.

My interview with Wainwright here.