Introduced by Little Steven as the finest example of outlaw country extant, Shooter Jennings and the .357's stormed New York City's Irving Plaza on a pleasant April night in 2006 as a band with something to prove. Jennings's previous New York City appearances had failed to match the energy of his impressive debut album, Put the O Back in Country, but that was then and this was now. The set opener, the title track from his sophomore album, Electric Rodeo, burns with brusque attitude and roiling emotions, and Jennings spits out the lyrics like he's mad as hell and not gonna take it anymore -- like father, like son. The tough-minded quartet then segues neatly into a thick-textured, ominous country blues that falls somewhere between the Marshall Tucker Band and vintage Hank Jr., "Gone to Carolina." "Busted in Baylor Country," Shooter's seriocomic tale of the band's arrest for marijuana possession in Texas, thunders and roars with righteous indignation, its pile-driver rhythm riding roughshod over an appreciative audience and its twin guitars wailing and protesting with an electrifying urgency worthy of classic Skynyrd. After a brief respite for the lilting country blues of "Lonesome Blues," Jennings and company kick it up a few more notches behind a shuffling rhythm and wah-wah guitar on "Manifesto No. 2," a sequel to the raucous kiss-off blues, "Manifesto No. 1," which follows. The entire set was much longer than what's captured on this 11-track disc, but everything that's special about Shooter Jennings as a writer, vocalist, instrumentalist and front man is on display here.