While it seems that since the turn of the millennium that even the most inconsequential of bands from decades past have gotten back together, there remains those groups for whom it’s safe to say that a reunion just isn’t in the cards. The Smiths are one such holdout. Even with a Rock & Roll Hall of Fame induction looming, reports of the legendary Manchester band turning down millions indicate that a reunion will most likely never happen, even for such an event.

As such, Smiths fans have to contend themselves with the next best thing, which is not, as some might think, a Morrissey live performance, but rather seeing the Moz’s one time songwriting partner, guitarist Johnny Marr. Even putting aside record label quibbles and the countless canceled tours—not to mention mediocre records—Morrissey’s live show of the past decade just doesn’t measure up. His is the schmaltzy product of a bloated ego far removed from the tender hooligan who once sang of charming men, girlfriends in comas, and the shoplifters of the world.

Marr on the other hand has been touring consistently the past two years in support of a pair of fine records that surpass anything his former comrade has recorded recently. Moreover, if you want to hear a handful of Smiths songs played with the kind of verve and spirit of their original incarnations, then Johnny’s your man.

Such was the case this past Saturday when he played the soldout Music Hall of Williamsburg. Leading off with the title track from his new longplayer, Playland, Marr and his crew jumped headlong into a set that let up very little throughout the night. “Panic” followed, and hearing him belt out this classic, one couldn’t help wonder where Johnny has been keeping his voice all those years of playing with Modest Mouse, The The, and The Pretenders. But while The Smiths songs were definitely relished, the solo material that made up the bulk of the set wasn’t lacking in any way, shape, or form. “New Town Velocity,” from last year’s The Messenger, was one of the highlights of the evening, its chiming guitars a perfect segue into the ringing tones of “The Headmaster Ritual.”

Indeed, new and old meshed seamlessly together, the rambunctious “Generate! Generate!” transitioning to “Bigmouth Strikes Again,” which didn’t lack for chill-inducing moments. While the Healers record was (rightly) not represented, Marr reworked “Getting Away with It,” from the Electronic self-titled debut, for guitar. ”How Soon Is Now?” followed, and though he was accompanied by The Roots’ Kirk Douglas, it was slightly disappointing that Andy Rourke didn’t join him onstage like he did last year at Webster Hall, especially as he was apparently present at the show.

For an encore, Marr began with “Still Ill,” which may have been the best of all the night’s great moments. He also covered Iggy Pop’s “Lust for Life,” managing to breathe some life into the cruise line jingle before ending with “There Is a Light That Never Goes Out.” While the song’s refrain about death and double-decker buses is certainly poignant, just as crucial are those ringing notes that punctuate it, and Marr’s delivery of both was expert. It’s truly a rare instance that a concert feels so satisfying on every level—especially when there’s a legacy like The Smiths hovering in the back of the minds of everyone present—but this one was perhaps perfect.