Afghan Whigs build new memories at Beacon Theatre

The Afghan Whigs reunion has become the stuff of music fans’ dreams.

When bands reunite after a lengthy split, the most anyone can really hope for is that they are as good as they were in their heyday. The Afghan Whigs have taken it a step further – with its first album in 16 years, “Do to the Beast” (Sub Pop), and its biggest headlining show in New York City ever at the Beacon Theatre Saturday night.

The Afghan Whigs are now better than ever.

Sure, singer-guitarist Greg Dulli and bassist John Curley aren’t as fueled by the unpredictable cocktail of adrenaline, testosterone and rage that made their shows in the “Gentlemen” era of the early ‘90s such a moshpit thrill-ride. But they are better musicians.

And their 90-minute set at the Beacon showed exactly why their mix of punk, grunge and soul is still so potent after all these years. (The band will celebrate its “Gentlemen” album turning 21 with a sold-out show at Music Hall of Williamsburg Sunday night. “I made that record when I was 7 years old,” Dulli joked Saturday night after a fiery version of “Debonair.”)

The Whigs kicked off the show with ferocious versions of the grinding rock of “Parked Outside” and the groove-based “Matamoros,” both delivered faster and harder than they are on “Do to the Beast.” Somehow, “Fountain and Fairfax” seemed even angrier than usual in the swanky surroundings of the Beacon.

They turned up the punk-influenced guitarwork of Dave Rosser on “Royal Cream,” while blending the beat-driven simplicity of “I Am Fire” in with Fleetwood Mac’s “Tusk.”

Unlike the early days of the Whigs’ reunion, Dulli is once again seamlessly blending in songs from other artists with his own. The way he moved from “Lost in the Woods” to The Beatles’ “Getting Better” was masterful, as was the mix between Jeff Buckley’s “Morning Theft” and “It Kills.”

However, it was the epic medley of Bobby Womack’s “Across 110th Street” with the Whigs’ “Faded” and the end of Prince’s “Purple Rain” that showed how well this combination of rock and soul can really work. And it seems like the Whigs aren’t done yet.

Singer-songwriter Joseph Arthur joined the band for “Can Rova,” which traces the end of a relationship backed first by acoustic ache and then rock then thumping, bass-driven EDM – all within four minutes.

That’s something the Whigs of old would never have dreamed of, and it was thrilling to see them add it to their bag of tricks and growing legacy.   

SET-LIST: Parked Outside / Matamoros / Fountain and Fairfax / The Lottery / Step into the Light / Debonair / Algiers / Royal Cream / I Am Fire > Tusk / Gentleman / No Diggity > Neglekted / Morning Theft > It Kills / Can Rova (w/Joseph Arthur) / My Enemy / Lost in the Woods > Getting Better
ENCORES: Somethin’ Hot / Going to Town / Across 110th Street > Faded > Purple Rain