By J.R. Taylor

They’re often referred to as “The Belle & Sebastian,” an understandable mistake. A common term (and preteen putdown) “gay,” also clings to the oft-misunderstood group. At last they no longer really sound like the kind of band that prompts the use of words such as “oft.” 

Consider the proud case of the release of The Life Pursuit, in which Stuart Murdoch and his cast of playmates take their boldest step into the world of the backbeat. Last year’s two-disc compilation of their early EPs has become a pleasant tombstone marking the end of their simpering years—you can also be sure the band made a charming rubbing of that tombstone with pastels. Now we’re getting genuine rock songs like “White Collar Boy,” which manages to actually be shambling instead of jaunty. 

“The Blues Are Still Blue” isn’t exactly working-class rock, but it suggests that Belle & Sebastian may no longer faint at the sight of a Lynyrd Skynyrd belt buckle. That’s a pretty big deal for a band whose audience used to consist of pop fans who considered Nada Surf and Weezer to be too macho. 

Those older fans were certainly dreading this album after 2003’s Dear Catastrophe Waitress. That was the first sign that change was in the works, as producer Trevor Horn gently pulled the band from the precious abyss of scoring a Todd Solondz film. Don’t worry about the fans—those folks are content to be devastated several times a day. 

New converts, have no fear. It’s a relative thing to be raving about the bold heterosexual strut of a ’70s glam influence, but the fact remains that new producer Tony Hoffer even gets songs like “We Are the Sleepyheads” to rock out. There was a time when the band would’ve used that concept for a pastoral manifesto. 

The same goes for cringe-worthy titles like “Funny Little Frog” and “For The Price Of A Cup Of Tea”—although the latter flirts with Doodletown Pipers territory. We should all be able to agree that The Life Pursuit is the band’s strongest collection of songs since 1996’s If You’re Feeling Sinister. The album ranks as a proper comeback, and this tour suggests the band is feeling the same way. 

The record is also a welcome victory for a band that launched amongst a small U.K. fey-pop movement and can no longer be easily blamed for their disciples who went on to form lit-rock. Still, it’s considerate for Belle & Sebastian to bring along the New Pornographers as the opening act. That’s a power-pop band for people who consider the Click Five to be too butch. 

March 2-3
Nokia Theater, 1515 Broadway (at 44th St.), 212-930-1940; 8:30, $30.