Recap Kathleen Edwards at Turner Hall

Forget for a moment that Canadian singer-songwriter Kathleen Edwards and Bon Iver wunderbro Justin Vernon are, like, totally girlfriend and boyfriend. Forget for a moment that Vernon produced Edwards’ brand-new album, Voyageur, at his April Base studio in Eau Claire, Wisconsin. Forget for a moment that the semi-local connection has garnered Edwards the most attention of her accomplished career. Focus instead on Edwards: salty music businesswoman. “I paid $2,500 for this shitty backdrop,” said Edwards during her Tuesday night tour kickoff at Turner Hall, referring to the less-than-impressive banner behind her. “It looks like shit. I want my money back, dude.”

It was that sense of pitch-black humor that gave Edwards’ show a dash of unexpected grit, and it was that businesslike mindset that transformed what could have been a shaky first gig into a slick, well-oiled machine. Subscribing to the time-tested “start with the first two songs from the new album” formula, Edwards kicked off with “Empty Threat” (a breezy track detailing her “threat” of “moving to America”) and the lovely “Chameleon/Comedian.” Selections from Voyageur dominated the set, though a few songs from the singer’s back catalog—including stand-outs “In State” from 2005’s Back To Me, and “Six O’Clock News” from 2003’s Failer—made welcome appearances. All throughout, Edwards’ stunningly assured voice dominated the room, backed by a solid five-piece band which included terrific opener Hannah Georgas.

Edwards’ twangy, alt-country M.O. is certainly nothing new, but her prickly, pissed-off attitude was revealing. The otherwise tame “sha-la-las” from the new “Mint” were given a rough makeover, turning a lazy hook into something fierce. The already acidic “Back To Me” was played at nearly double tempo, and could accurately be described as a “ball buster.” Ditto for the night’s final song, a cover of Big Star’s “September Gurls.”

Just as revealing were Edwards’ frequent riffs and diversions. A Steve Vai joke followed “Goodnight, California,” in which the singer wielded a guitar and violin at the same time. “Mercury” was dedicated to a local fan identified only as “Chris,” who may or may not have been in the audience. (Pro tip: The “Chris” in question would be Milwaukee’s Conrad Plymouth, a.k.a. Christopher Porterfield.) That reference would prove to be just one of many nods to the newly minted Bov Iver state: “People ask me if I’m really moving to America,” said Edwards near the end of the night. “I tell them I’m not moving to America—I’m moving to Wisconsin.”