Early on in her first of two shows at the El Rey theatre in Los Angeles on Monday night (11/17), Lucinda Williams [ tickets ] threw off her jacket, revealing a sleeveless black T-shirt, a good helping of tattoos and a silver belt six inches thick.

Launching into her mostly spoken-word entreaty to a tough, angry man, "Sweet Side," from her 2003 album, "World Without Tears," it became clear: no other woman in rock does swagger so well.

The song, which starts bitter and screaming to a lover who's obviously let life harden him--"you've had the blues since you were six"--takes a surprise, tender twist at the end: "I've seen you sewin' buttons on your shirt/I've seen you throwin' up when your stomach hurt ... I've seen your sweet side." It's a lyrical creation that's pure Lucinda, and the idea behind it--a person who displays rawness and sweetness simultaneously--could easily describe the woman herself.

Earlier this year, in interviews to promote "Tears," Williams said the album demonstrated her wide range of influences, all of which were on display during this concert. There was the expected blend of rock, folk and blues often categorized as "alt-country," but there was also soulful reggae in "Are You Down," which she called her "ganja Bob song." She said the tune "Real Live Bleeding Fingers and Broken Guitar Strings" was written with Paul Westerberg in mind, and "American Dream" was an attempt to be politically relevant ("It's not that good, but it's topical," she said). It was rounded out with straight, old-fashioned blues, a spiritual ("Get Right With God") and simple country waltzes like "Bus To Baton Rouge."

Though the majority of the songs Williams played came from her last three and most successful releases, she also played older material to feed an upcoming live album. This brought out "Passionate Kisses," from her 1988 self-titled record, as well as songs from 1992's "Sweet Old World" including the ballads "Six Blocks Away" and "Little Angel, Little Brother," an ode so intimate, it had Williams fumbling to remember what came next minutes after it. She also played the gentle "Like a Rose" twice--once in the middle of the show, breaking down halfway through and restarting, and as the second-encore closer, because, as she said we must have heard, she's a "neurotic perfectionist."

But for every quiet moment in the nearly three-hour set, the 40-something singer would viciously rev things up again. Helped especially by Doug Pettibone on back-up vocals, harmonica, steel and electric guitar, many of the biggest-sounding rockers were clearer and more passionate than their recorded versions. One of the best examples of this was the attitude-filled "Righteously." Though dedicated to "the ladies in the house," the song displays a not-so-conventional idea of feminism--delivering empowering lines like "Respect me, I give you what's mine," then giving in with, "You're entirely way too fine." Watching that pure bravado, I'm sure most "ladies," along with anyone else listening, wouldn't doubt this woman's strength for a second.

Agree? Disagree? Other thoughts? Click here to voice your opinion on liveDaily's Message Board.