Unlike many of the bands dubbed "alt-country" in the mid to late '90s, Old 97's [ tickets ]--rooted in Texas and comprising the same members it had in 1994--have kept the country in their music intact.

Though it's true there was more pop in the band's last two albums--"Satellite Rides" (2001) and "Fight Songs" (1999)--and the music was more radio friendly than in its previous work, Old 97's never strayed too far from the twang and rockabilly that colored their songs from the beginning.

At the Troubadour in West Hollywood, CA, on Sunday (3/14), during the first of two sold-out shows, it was clear the Old 97's--a name taken from a Johnny Cash song--is knee-deep in country again. Not surprisingly, it was also apparent the band has spent some time away from the stage; since a touring frenzy following "Rides," most members worked on solo projects, and leader Rhett Miller [ tickets ], while releasing a solo effort, also experienced first-time fatherhood. But it didn't take long for the band to get back into the swing of things in this steamy club full of diehard fans, and the two-hour set, full of songs nicely divided between five albums and new material, demonstrated their true love of performance.

Fans of the 97's have made into live hits songs that never graced radio waves or a Billboard chart. The band, as usual, delivered these songs--"Big Brown Eyes," "Barrier Reef," and the closer "Time Bomb"--as well as it has ever played them, while offering up several new songs that the crowd also happily accepted. Though the first new song, "Smokers," had surfer guitar and drums that hinted at new directions, the rest of the yet-to-be-released material was familiar--if leaning toward the classic country of their early albums. As if to drive this point home, they even brought out a cover of "Mama Tried," the Merle Haggard standard they recorded on their first album, "Hitchhike to Rhome."

But the new songs also display one of Miller's trademarks: his love of crafting lyrics to get the best possible sound-and-meaning combinations. Add the start to one new song, "She drove a blue car around Bloomington," to other great creations like "you can't count me out, cause I've got your number," or my favorite, "I'd be lying if I said I didn't have designs on you" (though you might need to see Miller's hips-and-guitar-swing combo and hear his whine on "lying" and "designs" to get that one).

The show provided one new feature: guitarist Ken Bethea, who has never had a mic anywhere near his mouth while on stage, sang a new song, a nice alternative to songs usually penned by Miller or bassist Murry Hammond.

Some harmonies sounded weaker than others, and the band will need to get up to their usual playing speed before heading full-throttle into promoting their upcoming album. But, especially after hearing Miller play solo for two encore songs and then bringing back the band, it's clear that the time they've spent working on their individual music has only enhanced what they’ve always had together.