Brazilian popular music and bossa nova legend Caetano Veloso graced Los Angeles’ Walt Disney Concert Hall on one of the final stops of his farewell tour of the United States this past Sunday. The baiano superstar saw the home of the L.A. Philharmonic replace its usual orchestra for three percussionists and three backup musicians at the flanks, with his guitar and unconventional dance moves taking center stage. Before long, every soul in the building was standing, too.

The bulk of his musical performance consisted of songs from his latest record, “Meu Coco.” Veloso is an artist of wide praise for his hand in the Tropicália movement in the 1960s that gave Brazilian popular music much of its identity today, but this pandemic-era album deviated from his usual sound. Veloso put his experimental songs out on display for all to see, and while perhaps many a fan expected his usual stripped-down bossa tunes, he was received well throughout regardless.

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The second Veloso stepped on stage, the audience roared in admiration and applause to welcome the multiple-time Grammy winner. At 81 years of age, one would expect him to stick to mellow songs and tranquil instruments, but they would be wrong. After he greeted all four sides of the audience, who were all wowed at even the slightest wave of his hand, the spotlights fell upon his slender frame, and he, seemingly impossibly, began to dance.

Of course, his small, erratic moves were not awe-inspiring in and of themselves, but clearly everyone present was overjoyed to see his bouncy, joyful energy. More amazing than that, his voice remained mellifluous and toneful, as well as powerful and resilient. The projection and absolute perfection in pitch was truly amazing for an artist who has been singing for over half a century.

As for the songs themselves, the novelty of the style showed ingenuity in songwriting and a slight roughness around the edges. This could not have been encapsulated better than in the title track at the top of the concert; at times, it incorporates only the traditional guitar that Veloso has made a staple of his songs. Nonetheless, in comes the chorus with its staggered percussion and occasional synthesizer fills that shock but don’t awe.

Another good example of Veloso’s excellent exploration of different sounds, but an awkward landing regardless, is “Ciclâmen do Líbano.” Recalling an old love, Veloso provides a piece that is conceptually interesting and melodically gorgeous as he tries to capture the essence of Lebanon. Unfortunately, the song better evokes outdated Hollywood film score and parody than proper homage to the culture the title references.

To Veloso’s credit, not all his experiments were failures. “Não Vou Deixar” collages hints of jazz, soft keyboards and floating vocals that excellently displayed his playfulness and curiosity. Better yet, the live performance was able to introduce the support in voice and instrumentation of album collaborator Lucas Nunes, who infused the song with a back-and-forth chorus of musical discovery. Nunes also contributed his guitar and keyboard talents throughout the night.

Regardless of the experimental sounds coming the crowd’s way, one thing is completely indisputable: The audience was enthralled. L.A.’s Brazilian population showed up and showed out to support one of their most storied musical exponents, so much so that even the songs they did not know roused hands in the air and feet to stomp on beat.

At a venue where the norm is to sit still and absorb classical, orchestral arrangements, Veloso had enough in him to break every single one of those rules. Suddenly, Disney Concert Hall saw crowds up on their feet, clapping and swaying to the rhythms of the stage below them. One concertgoer started the night seated in the back row of the upper orchestra section. By the final song, they were dancing ecstatically while holding on to the railing at the front row.

Veloso could not help but return to his classics. After a raucous standing ovation, his quick departure from the stage and a unanimous call for encore, he stepped back onto the limelight and honored his admirers with “Odara.” The building’s all-encompassing acoustics now allowed for the audience’s singing along to fill the room with the joy of Brazilian popular music at its finest.

One can believe whatever they want about an artist deviating in style for a single album. Regardless of how often Veloso hit the bullseye on his experiments, once he graced the stage with the music that made him a household name for generations, something within called the audience to stand and clap.

For those who are so far from their homes to witness a compatriot who has sonically changed the world is an experience that brings so much glee that it cannot be measured. These are moments no person can rate.

Veloso thanked the audience for its enthusiasm around his newer songs. He knows many there knew him for his hits, and yet they screamed their lungs out in support for “Meu Coco.” The audience, if nothing else, appreciated the technical mastery and vocal proficiency of a man who has stayed musically magnetic up to this very day. Every participant in this willing exchange was overjoyed each time Veloso finished a song, put out his arms and fell back into a deep, charismatic smile.