An Ani DiFranco [ tickets ] show isn't so much a concert as it is an assembly. Sometimes it's even a classroom. On Saturday night (2/12), the intelligent and charming singer/songwriter held court at L.A.'s cavernous Wiltern LG Theater.

Taking to the stage this time out with the same sparse arrangement she highlighted the night before on "The Tonight Show with Jay Leno"--in and of itself a radical concept only 10 years ago: "Ani on 'The Tonight Show!'—DiFranco was backed by a solid group of classical players, including the spectacular Andrew Bird on violin, Todd Sickafoose on bass and Noe Venable on backing vocals.

Opening with "Buildings and Bridges," Buffalo's very own preeminent, post-modern Rock Goddess obliged her fans with a powerful and well-crafted--if a wee-bit too short--set of modern folk music. DiFranco's talent is unquestionable and her charisma and fan-appeal are undeniable. Consequently, the Wiltern never sounded so loud, as Ani's mostly female fans shrieked in response to the singer's songs and lyrics.

DiFranco defies conventional rock performance thinking: she can raise the roof during a silent moment in a song with nothing more than her lilting voice and sharp lyrics, as she did countless times Saturday night. At times, the singer's unabashed political side came up, but that too was made easier to digest thanks to her wit and charm. Almost giggling she said, "This next song has the word impeachment in it," to which the entire theater shook with approval. "Only it's about Bill Clinton!"

This tour is backing her latest release, "Knuckle Down," so it came as no surprise that Ani and her cast of classical musicians focused on the newer material for much of the night. Songs included "Lag Time" and "Studying Stones," both off her latest release.

But it was the Ani classics that aroused the most passion. Despite the command of one fan's T-shirt, which read, "Don't Sing Along," sing along they did. Loudly. Joyously. And though DiFranco offered a simple, three-song encore, the minions ate up every wonderful note.

On "Shameless," with its opening bass-note bend and moody funk riff, Ani sang the embattled lyrics, "We're in a room without a door/And I am sure without a doubt/They're gonna wanna know how we got in here/And they're gonna wanna know/How we plan to get out." The track now seems more appropriate in the political-speak of the day rather than the gender-defying lifestyle it assailed when it was originally composed.

These days you might find Ani DiFranco on your late night television, but don't get too worried; the next night, she'll still be the same old Ani: defiant, charismatic, engaging and, of course, awe-inspiring.