An invigorated Paolo Nutini showed off his reinvented style on Sept. 22 at Terminal 5, which was the first of his two shows in Manhattan this week. The Scottish singer-songwriter revealed a new side of himself with this concert — his pop-rock music appeared to be more mature than ever, and his soul-music influences became especially obvious.

Opening for Nutini was PHOX, whose soulful folk music has recently been catching attention, predominantly as a result of the band’s touring work with acts such as the Lumineers. The six Wisconsinites offered a likeable but middle-of-the-road sound that flowed together in shallow rivers of reverb. Their foundation of twangy guitar, electric piano and occasional banjo built sentimental sounds that can be expected from many other stars in the current indie-rock scene.

When Nutini did take to the stage, a nine-piece band — including a horn section and a female vocalist — accompanied him. The band launched into the album’s leading single, “Scream (Funk My Life Up),” with full force. Immediately, the audience sensed the emotional growth of Nutini — a lovelorn, carefree wanderer who keeps growing in complex ways with everything he records. Nutini moved as one would imagine he would, with his hand over his heart, knees buckling and, at times, doubling over as if he were on the verge of giving into complete despair.

The band raucously played two songs — “Jenny Don’t Be Hasty” and “New Shoes.” The resulting sound was like “The Colour and the Shape”-era Foo Fighters, with Nutini delivering a portion of lines as spoken word. Based on the studio version, few could have predicted the bone-chilling guitar solos that punctuated these songs.

Throughout the performance, Nutini’s presence emphasized his title as bandleader, compounding the ensemble’s power with his howling lines. Instead of presenting himself in a singer-songwriter light, as those might expect based on his earlier recordings, he has found a hardier, more effective voice. His delivery channeled the rebellious joy and secret inner turmoil of ’50s and ’60s soul singers — a sound he said he was raised on.

At the end of the concert, Nutini did not lose sight of what brought fans to his music to begin with — hopelessly saccharine love songs. After finishing the set with his anthem of freedom, “Iron Sky,” Nutini and his band returned for two more songs, one of which was an upbeat rendition of Etta James’ “I’d Rather Go Blind.” The band filed offstage, and, as a disco ball was illuminated, Nutini grabbed his acoustic guitar and returned to the stage.

“We definitely have a few romantics in the building,” Nutini said in his slurry, Scottish accent. Although it was a tacit agreement that he would play his hit “Last Request,” he added riffs and harmonies in new areas, humbly reminding listeners of his skill at making any song sound no less sincere than the first time it was sung.

 A version of this article appeared in the Wednesday, Sept. 25 print edition. Email Zane Warman at [email protected].