On paper, an Andrew Bird concert probably sounds about as rocking as a bug collectors' fair or a copy editors' convention: He's a quirky, wiry guy who plays the violin, whistles a lot, tinkers with tape loops and performs songs with big words such as "Nomenclature" and "Imitosis."

Bird's show Saturday night at the State Theatre in Minneapolis, however, was indeed an electrifying, frenzied, stormy affair. Throughout the 105-minute showcase, the momentum frequently changed from calm, serene beauty to jolting, jittery, symphonic waves of noise that sounded like a 16-piece band was on stage instead of a four-member ensemble.

All three of Bird's backing musicians hail from the Twin Cities, just one of several ties the Chicago singer, 35, has to the local scene. He also has a sizable audience here now. The show sold out weeks ago, and the crowd's love for him was apparent from the start when it applauded him simply for taking off his shoes.

"It kind of feels like I've come home," Bird said.

Pointing to his onstage mates, he proudly surmised, "I think you already know my band."

From the set's early highlight "Fitz and the Dizzyspells" to the encore climax "Tables and Chairs," Bird offered plenty more chances to get even better acquainted with the all-local team -- drummer/keyboardist Martin Dosh (who makes albums as just Dosh), guitarist Jeremy Ylvisaker (Fog) and bassist/saxophonist/clarinetist Mike Lewis (Happy Apple).

The strongest impressions were made in many of the songs from Bird's masterful new album "Noble Beast," from the bouncy and accessible ditty "Oh No" to the grand oddity "Anonanimal," which roared with Lewis on sax. But the band also brought to life the maniacal energy of older standards such as "A Nervous Tic Motion of the Head to the Left." Bird also called up St. Paul-based singer Haley Bonar -- who played the opening set -- to revive her vocals caught on record in "Scythian Empire."

Of course, Bird is still capable of wondrous work all by his lonesome-sounding self. He opened and closed solo -- with "Self-Torture" and "Weather Systems," respectively -- alternating between bowed and picked violin parts, whistled melodies, echoy guitar and swooning vocals. OK, so those songs didn't exactly rock hard, but they were jolting just for how hard it must have been to pull them off so well.

See a set list at startribune.com/poplife. Chris Riemenschneider • 612-673-4658