Thievery Corporation

"Eclectic" best describes the musical style of Thievery Corporation, a group that combines disparate musical genres such as the electronic genres trip-hop and acid-jazz with dub, lounge and third world influences. With heavy bass that suggested Little Richard and stage lighting that brought to mind Pink Floyd, which coalesced around producers and DJs Rob Garza and Eric Hilton, rocked the crowd at Stubb's Bar-B-Q.

The boys gave a manic performance to an animated crowd who raised their hands in the air with great enthusiasm, bobbing their heads along to the Corporation's international grooves. The selection of music came from their previous albums such as Versions ("Originality") and The Cosmic Game ("The Heart's a Lonely Hunter"), but the highlight came from The Mirror Conspiracy, particularly through the crowd favorite "Le Monde," an atmospheric French downbeat groovier with female vocal. The Corporation also bashed out with their new reggae-spiced track "Radio Retaliation," which was another highlight. Their rotation of various musical styles throughout the night held the audience captive, demonstrating that musical diversity.

Jason Eady

The place was large and college students wrapped around the bar. The dinner tables were scattered on the floor leaving some room for what was to be the dance floor. How this venue – which could blend in with the Houston background, shot out to the public eye without the help of even a flyer - means the locals have recognized the place's value, as well as the performers.

Eady

But the audience came to dance and hear country music. And the performer, Jason Eady with his band, the Wayward Apostles, didn't disappoint as couples smiled, laughed and danced. One couple would preview a little shimmy in front of the stage, sitting back down as another pair met the open spaces. Jason angled his eyes on the floor, focusing on the tapping from his right foot. The melodic tones of "Back to Jackson" and "Wild Eyed Serenades" kept a steady beat and light lyrical mood. Kenny Smith, Scott Davis, and Jordan Kiener worked their instruments, their fluidity interweaving into one other's playing. The audience came for a good time and they were not disappointed.

Alejandro Escovedo

There's a reason why Alejandro Escovedo is an admired musician in musical circles: he genuinely rocks. Don't judge him based on his sharp and slick presence: he's known to unleash the Real Animal inside of him, and that's what he did at the Continental Club by channeling his recent offering to a devout following. Escovedo's musical influences -- Ritchie Valens, Chris Montez, Cannibal & the Headhunters, Chan Romero, Carlos Santana, Los Lobos and members of Tower of Power and War -- have been served well.

Escovedo, in his striped suit and finely combed hair, jumped into the crashing breaks, charging rhythms and manic guitar interplay that comprise "Put You Down," from his 1996 album With These Hands. The second tune of the night, "Always a Friend," from his recent 2008 endeavor Real Animal, is a Bruce Springsteen-flavored rocker that opens the album. Escovedo then jumped back into an earlier effort, 1999's Bourbonitis Blues, with the track "Everybody Loves Me." The rotation of familiar and recent sides throughout the night demonstrated Escovedo's relationship to his audience and served to promote his old and new music.

While the first part of the set was full of rip-roaring energy, the middle of the performance almost seemed to put the sweat-drenched audience to sleep. "It makes no sense" Escovedo sang in Real Animal's "Chelsea Hotel '78." He also took the moment to explain the origins of Real Animal's lilting track "Swallows of San Juans" before breaking into the song (the instruments imitate swallows) and the follow-up, the Spanish-propelled "Rosalie" off of 2001's A Man Under the Influence. It would have served Escovedo and the group better if they contributed a consistent blend of up-tempo and ballad songs rather than dividing the set into three major distinct chunks (fast, slow, fast). Nevertheless, the performance picked up again with the blues-inflected "People," a highlight from his latest album.

With burning guitar, violin, and cello interplays, a balance of slow smokers with frenzied rave-ups, and sincere rock vocalizing, Alejandro Escovedo delivered a grand performance, which is why one can see his growing popularity, particularly in the Austin music scene. "I hope you enjoyed yourself because we certainly did," Escovedo shouted. Spoken like a true rocker.

Buddy Guy

Radiohead entered the stage, settled themselves with their instruments, and began the tuning process with a more than modest entrance: a gallop across the stage and acknowledging an wave to the audience. Fans felt blessed in their presence and seduced by their songs – each track triggered emotional nerves such as "Optimistic," "Bodysnatchers," and "Jigsaw Puzzle Falling into Place." The audience clapped and sung, and heads bobbed – as the rainbow effects of lighting moved around the stage, while the band played many songs.

The absence of "Creep" and "Kharma Police" left a noticeable dent in the night and remained one of the few things disappointing about Radiohead (it is their preference to stick with recent album covers). In Rainbows, the album priced under the control of the band's fanatic constituency, the first half, while the two encores came from albums Kid A and OK Computer. Instead of rocking out to famous oldies, Radiohead fancied bringing attention to unacknowledged songs. The grunge veterans also supplied audiences with a visual aid: rainbow stalactites impaling the air eight feet above the stage's body with each row of lights alternating colors. The lights and music faded - electric reds and purples defused into mist and music reached a dull silence. But it was the audience members who went away with memories of a show that they had waited a long time to see and hear. Here's hoping the fans won't have to wait years to experience the next Radiohead performance.

The experimental group Daughters drew in the crowd and spit out the music. Rudyards, the unassuming bar off Waugh Street, lost all appeal to the quiet customer and instead found itself immersed in fans' sporting Mohawks and tattoo sleeves. Hell Songs, the band's recent album, suggests a predisposition of resentment toward parents or god.

"Canada Songs" was longer than a trip down the Nile and louder than Aphrodite's beauty. The volume was not just because of front row seats but also due to Marshall's almost swallowing the microphone. He plopped the microphone in as he demonstrated a series of pull-ups from the ceiling planks. He proceeded to scream the Canadian tune as the remaining four band members drove the beat, their feet firmly planted on the stage. This was a metal jam band meeting a pseudo New England pub.

While touring with Russian Circles, the band has ceremoniously discarded clothing all while keeping the concert PG-13. However, it avoids a big, black R if hand motions are left on the cutting room floor. The music receives a harsher review. Maybe it's the fact that I'm a girl and I was the only thing inside wearing pink, but I stood out like a light in the dark. That alone left a feeling of discomfort. Sometimes, it appeared drums ripped into the guitar like fingernails on a chalkboard, as if breaking into that instruments' conversation. Other times, the guitar, drums, and vocals hit each other's nails right on the head, making the perfect puncture into wood. The concert was a sight to see because of the audience's contagious enthusiasm and Daughters' zeal for provocative performance.