Seems like their next record will cover the spectrum, but that's expected from the musician that felt so compelled about rock that he left a promising career in the movies to pursue music. His springboard into acting was that modest institution known as Julliard. "Melanie was there for modern dance and I was there for acting. I did a lot of theater. I quit after two years; I knew I wanted to do this before I got too old. But, if anything happens, I can go back to acting. It's always there for me. It's something you can do your whole life, but rock n' roll has a very short life span, I wasn't getting any younger, so I quit that. Also, I was getting pretty close to having a career as an actor. I was auditioning for movies towards the end of it. I thought, 'If I land any of these parts and these are some big roles, I'm going to be known as an actor first and nobody will know me because of my music.' I think it's easier to go the other way around. All the rock stars get in movies and shit. Mick Jagger and Sting and Iggy Pop, you see that. Jack White's been in a movie that's coming out. And, you don't really lose any respect if you do that, but if you have gone through the other way, nobody will take you seriously. But those bands, like Johnny Depp or Keanu Reeves does. I mean, have you ever seen them? If you're in love with them and you go and see them at a club, but…And, from what I hear, Johnny Depp is a decent musician."

Singer Brandon Boyd and Incubus, as a whole demonstrated an unmatched versatility. They were able to pull out the metallic, older favorite "Vitamin" and then swim into Lionel Richie's "Hello." They were joined by new Ben Kenney who wasn't in the band when they dazzled the Ozzfest crowd in 2001.

Why their entrance music is "This Land Is Your Land, This Land Is My Land" is a mystery, but what is no longer a mystery, unless you call under a rock and in a hollow dark cave your home, is that Audioslave is a fortified live act brimming with guitar dynamics not seen since Hendrix and passion for the stage that lunges with ruckus rebellion and an untarnished craftsmanship. Too sugary, too much boasting…nah, not this time. The earth trembling bass that was held high and close to the chest of Tim Commerford and impacting monstrous strokes of drummer Brad Wilk made "Gasoline" more than just a song, it's a living, breathing reality unto itself with Chris Cornell's lavish voice ranging from canyon deep swaying to cloud tickling pitches. The crooner famous for fronting Soundgarden and touring a few years ago on his impeccable solo record Euphoria Morning declared the fallowing song as the third one Audioslave had ever written together, and with that the riveting and soulful "Set It Off" was triggered. It was just abundantly clear that Audioslave is one of those bands that people at the show would be telling their children about, like being able to say you witnessed the Doors with Jim Morrison.

Audioslave: One of those bands that people would be telling their children about. Copyright (c) 2003 Therese McKeon/Shoutweb.com

Brad Wilk sat on his kit surrounded by mirrors with his back facing the audience. Copyright (c) 2003 Therese McKeon/Shoutweb.com

As they cruised into "Light My Way", Chris Cornell was on his knee and used the mic stand like a rag doll, stampeding on the stage in a circle that neighbored on a Native American rain dance. Tom Morello made his guitar speak some forbidden language during one of the songs that will forever mark the summer of 2003, the somber "Like A Stone," and Brad Wilk had a different approach this time around as he sat on his kit surrounded by mirrors with his back facing the audience as interesting camera angles of the drummer flashed on the teleprompters.

"Shadow On The Sun" is glorious slice of sweet melancholy, and Cornell strumming the Elvis Costello hit "What's So Funny About Peace, Love And Understandin'" struck a deep chord when considering that there are still U.S. soldiers in Iraq. There was also another cover that was a measurably superior version then the actual originators made of it. Audioslave did The White Stripes' "Seven Nation Army," and while the Jack and Meagan White single pounds with a Cream-ish hook, at the Tweeter Center it became anathematic emphasized with a sledgehammer delivery and even rather sultry stagger. Nestled between the two non-Audioslave originals, came one of the most precious hidden gems of 2002, "Getaway Car." It caressed with decadent poetry in a sigh that just longs for freedom and daydreaming. The combusting "Cochise" closed out the set, and everyone's response concurred that it just doesn't get any better than this… real songs, real heart, and stage presence to burn.

There was the Xbox Game Riot winner announcement, and the Lollapalooza girls shook their assets. The myth and the majesty of Jane's Addiction starts off the with the Spanish voice that signified their set opening and probably most recognizable radio hit, "Stop." Perry Farrell strutted his stuff in signature style amidst a stage setting that looks a like an art deco Tim Burton movie.

The myth and the majesty of Jane's Addiction. Copyright (c) 2003 Therese McKeon/Shoutweb.com

Perry Farrell strutted his stuff in signature style. Copyright (c) 2003 Therese McKeon/Shoutweb.com

Dave Navarro emitted his succulent yet resilient solos for "Mountain Song," it was rich and overflowing with half brooding, half seductive textures in nature, obviously the reason why he is such a praised and influential player. Navarro is as open-minded and lurid with his wardrobe as he his with his strings while he pranced on stage in a Victoria Secret-like lingerie, a flowing blue boa cape. New member bassist Chris Chaney appears wholesome in comparison to his band mates, but packs the attitude laced and jagged bass hooks as well as original member Eric Avery. Jane's Addiction maintain their place in the timeline which includes Faith No More and System Of Down as true risk takers and visionaries in music, with their new record, Strays standing tall and proud in a more linear approach.