The secret that Townshend Research was a pseudonym for Robert Pollard and his touring band (the Ascended Masters) was as closely guarded as the fact that Brangelina just had a baby. So, instead of seeing supreme pop songwriter/guitarist Tommy Keene unjustly opening for some unknown hipsters, a sold-out crowd at Schubas Tavern was treated to Keene playing his own set of tunes, followed by Pollard and crew—which, of course, features Keene on guitar and keyboard—having a band practice for a paying crowd en route to Cincinnati and Pittsburgh for arena shows with Pearl Jam.

The upside of this arrangement was clear: two great performances for the price of one. The downside is that both sets were truncated. (No way would Schubas’ stringent curfew allow for a full Pollard set, and Keene lopped off about three songs.) Still, no one walked out of Schubas feeling they hadn’t gotten their money’s worth.

Kicking off with John Richardson’s powerful drum intro to Crashing The Ether’s “Black And White New York,” Keene ran through new material and old with equal fervor, dealing off trademark solos and slashing chords, and ceded the spotlight to second guitarist Dave Phillips (also an Ascended Master) to shine on a ripping version of “Turning On Blue.” There seemed to be a few sound issues early on, but Keene didn’t let it bother him. He picked up steam with a soaring version of “Driving Down The Road In My Mind,” and things nicely barreled along through the “Kill Your Sons” encore. Though that finale saw the quartet (Velvet Crush’s Paul Chastain handled bass duties) begin it as a trio—Phillips was, uh, shaking hands with the president—it was one of the best versions of the Lou Reed warhorse Keene has done in a few years.

Here’s another poorly kept shocker about Townshend Research: Pollard was hammered from go time. But one of the amazing facets about Pollard’s persona—aside from the obvious quality of his songs and the stadium-ready effort he puts forth in even the smallest of clubs—is how he always seems to keep it together during performances. If you didn’t pay attention to the occasional stumble and slightly slurred song intros, you’d swear the guy never touched a drop of his beloved sunshine juice. Pollard belted out the From A Compound Eye-heavy setlist with unwavering purpose and threw in a few standard-issue leg kicks and jumps (though the altitude was lacking a tad). The former stud college pitcher also signed a baseball handed to him (“I feel like fucking Mickey Mantle”) and even donned an audience member’s St. Louis Cardinals hat to a round of hearty boos.

As for the Ascended Masters, it’s simple: This is the best bunch of musicians Pollard has ever played with. Keene ably switched from guitar to keys (sometimes during the same tune) and back, again with Phillips’ deft support. Drummer Jon Wurster pounded like the rhythmic monster he’s always been, and Jason Narducy, in addition to being ace on bass, is nearly as fun to watch move around as Pollard. The devoted masses ate it up, but no more so than during Guided By Voices chestnut “Game Of Pricks”; the club literally shook from crazed fans jumping for joy. And the face-melting closing half of “The Numbered Head” has quickly become the band’s signature moment. This night’s version was epic.

Having also witnessed their fine display at the Intonation Festival three days later, I’ve now seen this amazing outfit five times. It’s almost unbelievable to say, but they’re getting better. The addition of newer material (Keene Brothers, Pollard’s Normal Happiness) for dates in the fall only bodes well for future instances of blown minds and buckled floors. Now if we can just get Keene to play a few more solo dates prior to that. Start the groundswell, people.

—Matt Hickey