POP MUSIC

Electrelane

Give Electrelane credit for knowing its strengths and sticking to them.

Over the course of four albums the all-female British quartet has rarely strayed from its formula of forceful, guitar-and-organ-driven drone rock, reaching a high point on the recent "No Shouts No Calls." If the band isn't earning too many points for branching out, it's at least scoring high marks for execution, and Sunday night's show at the Black Cat found Electrelane in complete control of its sound.

It was almost a tale of two sets, with the first half showcasing Electrelane's ability to craft slowly building, kraut-rock-inspired mini-epics. "The Greater Times" and "To the East," both from the new album, were particular standouts. Bassist Ros Murray and drummer Emma Gaze laid down the pulsing, rhythmic framework, guitarist Mia Clarke shifted from chiming notes to distorted power chords, and Verity Susman put on the finishing touches with driving organ and almost operatic vocals.

For the second half of the show, the band did away with the subtleties -- and much of the vocals -- and opted instead for making as much of a racket as possible. If these songs were less immediately appealing, the band's sole focus on locking into a loud, steady groove proved infectious.

Like many bands that visit the nation's capital, Electrelane couldn't resist breaking out one of its most political songs, reaching back for early chestnut "I Want to Be President." "It feels great to play that in D.C.," Susman remarked, but it felt even better to hear the band's rousing take on Bruce Springsteen's "I'm on Fire," which closed the set.

-- David Malitz

Brooks & Dunn and Jackson

While Brooks & Dunn and Alan Jackson entertained the Nissan Pavilion crowd on Sunday night by trotting out their hits, the two acts had wildly different styles.

Brooks & Dunn's opening set emphasized the duo's raucous energy and rock-flavored songs, from the howling "Hillbilly Deluxe" to the predictably patriotic "Only in America." A few slower ballads showcased Ronnie Dunn's swoon-inducing voice (his a cappella ending to "Neon Moon" was surprisingly robust), but those calmer moments were regrettably rare in the hour-long set.

By contrast, Jackson delivered a more sedate performance, barely moving as he crooned his elegant numbers. Lyrics that touched upon rowdier moments ("It's Five O'Clock Somewhere," "Chattahoochee") were tempered with a restraint that relied more on his twangy voice than a showy presentation.

Even the women in their songs came from different sides of the tracks: Brooks & Dunn highlighted sexy women who brazenly ask for what they want -- "Rock My World (Little Country Girl)," "Play Something Country" -- while Jackson paid tribute to a deeper love, rather than lust. The tender ballad "Remember When" and the serene "Like Red on a Rose" each reflected the affections shown in the family videos projected behind him.

The performers' styles collided during the encore, when Brooks & Dunn joined Jackson for a rendition of "Big Boss Man." Kix Brooks's blazing harmonica and growling vocals balanced Jackson's more staid delivery, showing that perhaps their approaches work best when blended together.

-- Catherine P. Lewis