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Leslie Feist had fabricated a austere mistake.

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That’s the ability this Canadian accompanist and songwriter seemed to reach, anyway, aloof a few account afterwards she came onstage Friday night at downtown’s Palace Theatre, area she was arena the aboriginal of three concerts abaft her arresting new album, “Pleasure.”

Released backward aftermost month, “Pleasure” is a raw, angrily minimalist accomplishment — abate in calibration than Feist’s antecedent record, 2011’s “Metals,” and beneath bright than “The Reminder,” her 2007 advance that spawned the active hit distinct “1234” and led to a left-field Grammy choice for best new artist.

So you could see how she ample a built-in appearance in a semi-rehabbed cine abode would be the ideal ambience to present her latest work.

But afterwards aperture with the album’s abrupt appellation track, which the hushed admirers captivated with conceivably a little too abundant respect, Feist clearly afflicted her mind, cogent the army that no one should feel answerable to abide in his or her adequate seat.

At that, several dozen admirers leaped up and rushed to the advanced of the room.

“Oh!” said Feist, who performs beneath her aftermost name and lives part-time in Los Angeles. “It’s a gig all of a sudden.”

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As stripped-down as they are, the folky arrange on “Pleasure” — congenital mostly from aloof articulation and acoustic guitar — bear complicated thoughts on what the 41-year-old has declared as a asperous amplitude in her claimed life.

“I acquainted some authoritativeness that you charge accept died / Because how could I animate if you’re still alive?” she wonders in “I Wish I Didn’t Miss You,” a active alienation song abounding with according genitalia anxious and shame. In “A Man Is Not His Song” she ponders a lover’s blunder while acknowledging her own alertness to allow it.

Even “Baby Be Simple,” in which she asks to be advised gently, sets abreast self-pity for a affectionate of Zen philosophy: “To become that rooftop,” she sings in a allegory allegedly aggressive by her appear new absorption in carpentry, “had to abatement all the way down.”

At the Palace, area she was backed by a active three-piece bandage on keyboards, percussion, violin and added instruments, Feist performed the anthology from alpha to end.

And as admitting to accumulate those admirers on their feet, she emphasized the music’s amateurish edges — elongating assertive articulate phrases and application down-covered guitar chords to allotment the air — rather than painting a appealing (but simple) account that ability alone be gazed at.

She additionally appeared to ad lib lyrics on several occasions, as in “Any Party,” which angry into a tune about the likelihood of bodies in the army award added bodies to go home with.

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Yet Feist’s ascendancy over the complete was remarkable, abnormally in how she and her musicians absolutely layered their choir in “Lost Dreams” and “The Wind,” the closing of which describes the flattening aftereffect of the able gusts that she said draft beyond arctic Ontario.

“The copse for their hundred years angular arctic like calligraphy,” she sang, alms addition able angel from the concrete world, “and I’m shaped by my affronted like they’re shaped by the storming.”

In “I’m Not Running Away” — about how “I wouldn’t be cogent the accuracy if I don’t accept that I depend on you” — the accompanist pulled live-wire electric-blues addendum from her guitar but backward in blow with her drummer’s abiding groove.

After she played through “Pleasure,” Feist did some of her beforehand material, including her stomping adjustment of Nina Simone’s booty on the acceptable folk song “Sea Lion Woman” and “I Feel It All,” which she alien by celebratory that “The Reminder” came out 10 years ago this week.

She drew afresh from that anthology for her assured closer, the tune that alien her to a advanced admirers acknowledgment to its use in an iPod commercial.

“This is a golden, at this point, oldie,” she said with a blow of ashamed pride.

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But instead of breeding the airy animation that propelled “1234” all the way to a adornment on “Sesame Street,” Feist dismantled her signature hit, slowing the accent and axis over the able words — “One, two, three, four / Tell me that you adulation me more” — in a address that appropriate she was attractive for cracks in its admiring optimism.

“Two-thousand-seven, oh my God / Was a while ago,” she improvised as the tune concluded — one added analysis she seemed to be authoritative in absolute time.

mikael.wood@latimes.com

Twitter: @mikaelwood

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