As it turns out, Bryan Ferry’s concert at the Beacon Theater on Wednesday was particularly special. The former Roxy Music frontman had been battling a viral infection this tour, and his New York appearance was one of only a couple that actually happened amongst a string of cancellations. And though there were signs of the sniffles during his set, the 69-year-old overcame such symptoms to put on a show that was truly memorable.

He rushed onto the stage dressed to the nines in a gold floral tuxedo jacket and launched into ”Re-Make/Re-Model.” Being the first song off Roxy Music’s first album, it is kind of the first anyone ever heard of Ferry, and the dapper singer would go on to run through just about every period of his lengthy career. It was a particularly rewarding setlist for a Roxy Music fan as he touched upon  on every permutation of that band which evolved continuously throughout its lifespan. He would return to that first Roxy album a few songs later for “Ladytron” and “If There Is Something,” but first traipsed through “Kiss and Tell” (Bête Noire) and “Slave to Love” (Boys and Girls), which were representative of the height of his commercial popularity as a solo artist.

By the time he got to “Oh Yeah” off of Roxy Music’s Flesh and Blood, his voice, which initially was a little shaky, began to warm as he crooned about hearing his and his sweetheart’s song on the radio. Of course, Ferry was backed by a top-notch backing band, but it was his vocals that the show’s success hinged upon and always took the spotlight even when he retreated behind a keyboard as he did throughout the show. Halfway through the set, Ferry trotted out a couple tracks off his forthcoming record, Avonmore, due out next month. “Loop de Li” was an upbeat number reminiscent of Boys and Girls and his creeping cover of Robert Palmer’s “Johnny and Mary” melded seamlessly into his repertoire.

Next, Ferry devoted four songs to the Roxy Music swan song, Avalon. “Tara” was rendered beautifully by Jorga Chalmers on soprano saxophone, and “Take a Chance with Me” was done nearly note-for-note as the original. For “More Than This,” though, Ferry slowed it to a soulful reverie delivered by his voice and keys alone. It was not without its merits, but that song’s brilliance is in the sumptuous arrangement of the original, so it was hard to not to be disappointed by not hearing it in its full splendor. The title track followed and showcased the interplay between Ferry and his band. Ferry closed out the set with four Roxy classics beginning with Country Life’s “Casanova.” “Love Is the Drug” and “Virginia Plain” followed and drew the largest crowd response, some of the older members of the audience literally bouncing in their seats. He closed with a particularly riveting version of “Editions of You” that could have only been better if Brian Eno himself was flanking him on keys.

It didn’t take long for Ferry to reappear for the encore, a couple of songs he first covered with Roxy Music: Wilbert Harrison’s “Let’s Stick Together” and John Lennon’s “Jealous Guy.” Though not on the top of my list as things I wanted to hear, Ferry finished the show with panache, even whistling his way through the latter. While sure the show was wanting in some ways (I can only imagine how a healthier Ferry must sound), it was still startling for the breadth of material and Ferry’s own showmanship.