In the Ina and Jack Kay Theatre.

Michael Deeds wrote about Soulive in November 2005 for The Washington Post:

When a jazz trio noses into pop territory, there's always a chance that purists will curse up a storm. Soulive has always loved hearing the f-word, anyway: fusion. Brothers Alan and Neal Evans (drums and keyboards) and Eric Krasno (guitar) have blurred funky genres since Soulive's 1999 inception, meaning that their biggest fans are neo-hippies eager to strap on a pair of dancing Birks.

"Break Out" is the New York-based band's best album, shifting away from jam band repetition and kicking down the mainstream door. Rather than focusing on sinewy soul-jazz instrumentals -- though there are some great moments here, notably the horn-driven title track -- Soulive recruited a horde of gifted guest singers. Consequently, these slinky cuts are transformed into widely appealing, four- and five-minute songs.

Ivan Neville unleashes the album's battle cry with the anthem "Got Soul" -- one of two tunes he empowers. Corey Glover of Living Colour dives into "Freedom." Reggie Watts of Maktub pumps an Al Green-ish falsetto into "She's Hooked" and "What Can You Do." And Chaka Khan lets it all hang out with a rich, multi-tracked diva delivery on the lip-pursing "Back Again."

As terrific as the singing is, you don't miss it when Soulive goes instrumental. "Reverb" is a slow-burning, '70s-tinged riff that oozes cool like Shaft cruising a dark alley. And as soon as guest Robert Randolph's sacred-steel starts trading punches with Krasno's rockin' guitar on a slamming cover of "Crosstown Traffic," you'll be providing your own joyful vocals, anyway.