Gomez [ tickets ] is the U.K.'s version of Phish--only harder and more creative. On Monday night (2/9), the six-man jam band earned itself an impressive sold-out show at the Avalon in Hollywood.

Opening with "Get Miles," a blast of gut-busting rock, the band quickly displayed how it has evolved since its late '90s debut. These days, they're less folksy and more hard-rock; less wandering, more precise.

Surprisingly for a Monday night, but not for a Gomez show, the room was brimming with a responsive and robust audience begging for a long night of music. And the band obliged. "We've got a lot of songs to play for you," announced Tom Gray, at the start of the two-hour set. Then, with Gray on lead vocals, Gomez jumped into "Catch Me Up," the first single off their forthcoming release.

Unlike fellow-Brits Coldplay and Radiohead, the members of Gomez actually smile onstage and seem to really enjoy a party. No shocker, then, that their success owes more to their jam-band vibe than any artsy aspirations. Fan favorite "Bring It On" was warped and rearranged, propped up by an electrical wire of a synthesizer riff, turning emphatically into a sludgy distortion factory. Ian Ball dedicated "Rhythm and Blues Alibi" to his folks, who were visiting from England. Such a good boy!

The title track off 2002's "In Our Gun" inspired the crowd to sing along. Playing his black Gibson Les Paul, singer/lead guitarist Ben Ottewell--the one with the husky voice--tore through an effects-heavy solo. Accompanied by massive, flashing strobes across the roof of the stage, you'd have thought Slash was jamming out to "Welcome to the Jungle." This is how far Gomez has come.

Once upon a record, these guys were a mellow, hippie-like group of dreamers. Not anymore. And the band's new songs reflect this spirit. Gomez now offers harder-edged, more focused tunes like "Silence," which has the stop-'n'-go characteristics of a revamped '50s jukebox hit, and "Catch Me Up," which sounds similarly rough.

Admittedly, the guys in Gomez aren't the most charismatic performers. They sometimes seem uncomfortable talking to their fans between songs--as if addressing the room is too tough or awkward.

But who cares. When they play, Gomez rock. "Get Myself Arrested," the band's breakthrough single off its '98 debut, "Bring It On," was a magnificent piece of performance with burgundy and violet lights flailing across the stage. As the final chorus came around, the band dropped out to reveal an entire room singing along. Very cool.

"Revolutionary Kind," another of Gomez's better tracks, was damn near inspired. Drummer Olly Peacock switched between a drum machine and his skins during the song, giving it a thoroughly modern feel. A bevy of rave-quality spotlights didn't hurt either.

These days Gomez is taking British blues/folk to new levels. Their live show has evolved from a jam-band gathering into a frenzy of guitar effects, crashing cymbals and dramatic lighting. Thankfully, though, there's still room for the all-important sing-along..