Eleanor Friedberger used to live in my neighborhood. I’m pretty sure I passed her walking down my block once. Other people I’ve passed on the street in my neighborhood include Craig Finn and Ray from Girls, which is to say I might be priced out of Brooklyn before I’m done writing this. Back when Eleanor Friedberger lived in my neighborhood, she played a show at the Music Hall of Williamsburg, just south of here; the vast majority of times I’ve seen her play, either as a solo act or as part of her band the Fiery Furnaces, have been in Greenpoint (here, until I get priced out) or Williamsburg (just south of here, until I get priced out). At that Music Hall of Williamsburg show, I was in the front row, and toward the end of her encore during the song “My Mistakes,” she lowered herself from the stage onto the floor, using me and the guy next to me to help herself down. Offhand, I would call that brief moment the most intimate one I’ve shared with a professional rock and roll musician, especially if that sex dream I had about Shirley Manson doesn’t count. (It doesn’t count.) That moment, combined with passing her on Calyer Street, combined with the time I saw the Fiery Furnaces play at a club a block away from my old apartment that no longer exists (before you ask: both. The club no longer exists, and the apartment no longer exists, at least in the form it did when we lived there), combined with the lyric in “Owl’s Head Park” about posing for a photo on Manhattan Avenue, has lodged Eleanor Friedberger firmly into my head as one of the New Yorkiest of indie rockers. It’s a selfish distinction; she feels like New York City to me because I know that she knows my New York City – even if most of her New York references talk about further-flung places like Coney Island, Roosevelt Island, and Owl’s Head Park, places I go maybe once a year if ever; Owl’s Head Park being someplace I went mainly because of the song.

Those New York references I shouldn’t care that much about continue with “False Alphabet City,” her new single that doesn’t appear on her new album New View. She recorded it for some kind of film-based art project (oh, New York) but it stands alone just fine, even for a New Yorker who rarely finds himself in Actual Alphabet City. The way it starts with a stuttery creep throws back to her Fiery Furnaces days; the way the guitar swings in after seconds feels like a veer away from the Furnaces’ weirdness (though their pop instincts, occasionally deployed, were not too shabby). Where it really opens it up is its New York City sentiment: “Everyone’s searching for their own letter in the false alphabet city.” She’d know better than most, having spent over a decade in the city and only recently decamped for upstate. The NYC-centric lyrics, plus the tempo and instrumentation, don’t really fit in on New View, so it makes sense that it was left off; you wouldn’t want the best song on an album to be one that sounds nothing like the rest of it.

For most of her show last night at the Bowery Ballroom, I didn’t think Eleanor Friedberger was going to perform “False Alphabet City.” She played every song on New View, and had to play some older stuff, too (impeccably chosen), which didn’t seem to leave much room for a one-off single based on an art project. But she played it, late in the show, telling the crowd it was for us. That would sound like a cheesy rock-star sentiment coming from a lot of singers, but one of the more remarkable things about Eleanor Friedberger is the way she combines real, sometimes inscrutable charisma (that voice, those mysterious bangs) with a slight hesitation – she’s not a wild dancer on stage, but when she moves with her music, it looks natural and sincere. So when she tells me and a couple hundred other people that a song is for us, I believe her, no questions asked, even if I don’t see her around anymore.

Eleanor Friedberger is out on tour in support of New View right now.