But Black made the kind of music he wanted to make. And because he did so with his trademark passion and energy, he eventually regained the respect of followers.
It's this artistic autonomy that is the essence of Black, and it was ever-present during his Monday night set with the Catholics at the Cat's Cradle -- even if the fans didn't get into all of it.
The show was all music and no bull -- the band went from song to song with only seconds for breaks.
Black didn't speak to the audience until more than an hour into the set -- and then briefly -- and he didn't give fans the encore they begged for.
Particularly impressive was the band's ability to play extremely fast and loud riffs with all the precision of a machine.
This was most evident in the first four songs -- Black loomed like a statue, barely flinching as he played the pulsating punk rhythms. The other band members were equally strong, creating a forceful stage presence.
Even though the uniformity of the beats was a change from the more intricate guitar riffs and melodies Black contributed to The Pixies, these songs were instant crowd-pleasers and strengthened the show.
The handful of Pixies songs generated the most energy from the audience, though, making it clear where Black's identity remains embedded.
Though The Pixies tracks provided fans with a glimpse of history, songs like the melancholy "Wave of Mutilation" reflected Black's new artistic identity just as much. His throaty, ethereal vocals gave it a new feel that melded past with present.
And Black's haunting spoken version of "Monkey Gone to Heaven" had everyone at the Cradle standing in awe. Fans belted the lyrics with blood-curdling screams: "If man is five/Then the devil is six/Then god is seven/This monkey's gone to heaven."
As impressive as moments like these were, however, they alone could not carry the show.
The band's attempt to meld its punk sound with alt-country on several songs -- part of Black's latest experimentation -- was unsuccessful. The guitar twangs and country piano playing were drowned out by reverb, and the slower pace of the songs didn't match the tone of the whole show.
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It sounded as though the band was straining to do something it just wasn't destined to do, and the crowd was quick to lose interest.
But Black paid no attention to the fan's waning excitement. He played on without a care, enjoying every moment.
And that's why -- sometimes -- the fans just have to take the backseat.
The Arts & Entertainment Editor can be reached at artsdesk@unc.edu.
