It was the ultimate in rock geekdom: Cult hero Todd Rundgren playing his influential, obscure and cult-loved 1973 album “A Wizard, A True Star” in concert Tuesday at the State Theatre.First, we had to sit through a set of Utopia tunes played by Todd and three other guys (Roger Powell, Kasim Sulton, Prairie Prince) in plain white T’s and black jeans.

After intermission came “A Wizard, A True Star” with an expanded band (including Cars keyboardist Greg Hawkes, saxist/keyboardist Bobby Strickland and guitarist Jesse Gress), white tuxedos with tails for the six musicians, and a series of colorful costumes for Todd.

Back in 1973, this music was experimental, adventurous and oddly eclectic. On Tuesday, it was merely a curious grab bag of unbridled creativity as Todd traveled through vaudeville, R&B ballads, prog rock, Broadway, hard rock, cabaret, pop, etc.

With the sound something less than stellar (Todd’s vocals were difficult to decipher much of the night), the costumes may have been as fun as the music.

To be sure, some of these costumes came out of the closet and had to be let out. Several were quite a trip like the feather-and-lame ensemble that looked like something Cher might have worn in her video for “Half Breed” or the Dreamsicle-orange suit (and electric orange satin-like shirt) that Rundgren sported for his R&B medley of “Ooh Baby Baby” and “La La Means I Love You.”

Near the end, when a truly rockin’ Todd was carrying on with scraggly, sweaty hair in an outdated outfit with a slight paunch and a puffy face, he suggested Mickey Rourke in “The Wrestler.” But when he ended by slipping on a gold lame-like suit with oversized Elvis-like sunglasses to perform “Just One Victory,” it was clear that Todd the Rock God still rules.

For me, the “AWATS” experience wasn’t as rewarding as seeing Brian Wilson and his band do “Pet Sounds” in concert. But for all the Rundgren runts, they went ga-ga.

Todd Rundgren, performing Tuesday at the State.

Photo by J Bloomrosen (click to expand).

A lot of things went through my head last night at the Dirty Three’s nearly two-hour set, including the idea that the only way instrumental rock bands really work is if one of the instruments “sings” in lieu of vocals (which Warren Ellis’s violin did all night). I also kept trying to remember the obtuse titles of the songs to compile the set list, most of which I knew by melody but not by name (no dice; among the ones I nailed down were the openers “Some Summers They Drop Like Flies” and “Restless Waves,” the two encore gems “Some Things I Just Don’t Want to Know” and “Last Horse on the Sand,” and in between “Sister Let Them Try to Follow”).

The one constant thought, though, was how terrific it was to see that show in a venue as unique and electric-feeling as the Southern Theater, with its brick-wall backdrop, ornate overhang and scruffed-up walls. Warren marveled over the space, too. When somebody yelled asking when they’re going to come back and play again, he quipped, “Tomorrow night, in fact” (no kidding, the band does have a second gig tonight).

I had a similar reaction Saturday night watching Low at the Lake Harriet Bandshell. Former Low bassist Zak Sally, btw, earned a shout-out and then a hug from Warren at the Southern.

The historic Harriet Bandshell is a venue I have long contended is tragically under-used for music gigs (and I’m not talking string trios or hippie folk singers I’ve never heard of). Alan Sparhawk & Co. sounded magical under the curvey, wooden stage with the lake for a backdrop and crisp September weather, a perfect setting as the trio churned out a few new songs alongside such favorites as “Canada,” “Sunflower,” “California” and “Dinosaur Act.” The show was the kickoff to the Vita.mn Autumn Music & Movies series, and I highly recommend the rest of these Saturday night installments.

More important, I’d like to make this a call-to-arms to local bands: Think outside the Turf Club/Entry/Triple Rock boxes. As much as I love those places, there’s something extra special about gigs in non-typical venues, where the spaces can act like a fifth-member collaborator in the band. There are other rustic theaters like the Southern (The Ritz in Nordeast, the Lowry in St. Paul, Intermedia Arts Center on Lyndale where B-Girl Be lands again Saturday). There are neighborhood bars with empty stages. There are rec centers, warehouses, school gyms, whatever. Let’s make it an interesting winter venue-wise.

It was the opening night of Regina Spektor’s North American tour and she seemed nervous and tongue-tied (her description, which was accurate). She screwed up a couple of times (she apologized to her three sidemen) and blurted, “This is just like my life — except with lights.”

Spektor, 29, didn’t command the stage quite like she did in her previous Twin Cities appearances (the Myth in 07 and Varsity in 06), and she seemed more insecure and immature, which had a certain charm to it (but that wore thin after a while). In fact, the sellout crowd of mostly teen and 20-something women were charmed, responding with gleeful screams throughout the 85-minute performance. (Didn’t we all know of someone like Regina in high school — that artsy, nerdy, goofy, nervous-y outcast with major talent whom no one seemed to understand.)

For about half the tunes, Spektor was accompanied by a drummer, a cellist and a violinist. Her solo numbers were on grand or electric piano, and electric guitar. It took her about a half-dozen songs to kind of find her intensity, which she did on “Ode to Divorce,” when she became lost in her singing. Too often she seemed to be thinking about her own cleverness instead of merely singing. Her pacing was a little off, too, especially ending the main set with the slow “Man of a Thousand Faces.”

Spektor was terrific during her encore, showing consistent passion as well as delightful musical diversity, covering everything from rich piano pop to 1960s-flavored novelty to a Russian hoedown.

Here is Spektor’s set list:

The Calculation/One More Time with Feeling/???/Machine/Two Birds/Laughing With/Ode to Divorce/Blue Lips/On the Radio/Dance Anthem of the 80s/Bobbin’ for Apples/That Time/Apres Moi/Poor Little Rich Boy/Lacrimosa/Man of A Thousand Faces

ENCORE Samson/Us/Hotel Song/Fidelity/Love, You’re a Whore

What a lineup, what free-wheeling fun, what a night. The stars — local and national — aligned Wednesday at the Cabooze to celebrate the 20th anniversary of Willie’s American Guitars, the St. Paul must-stop for pickers of persuasions and skill.

The big names, of course, were Joe Ely and Dos Lobos, i.e. David Hidalgo and Louie Perez of Los Lobos. Supported by his longtime lead guitarist Rob Gjersoe (who also plays with the Flatlanders), Ely rocked the house, ending with the always rollicking “The Road Goes on Forever.”

In a rambling 80-minute set, Dos Lobos worked in various combinations and permutations (including with two local drummers and bassist Jim Anton) and with a variety of instruments (including Willie’s specially built electric ukulele and both Louie and David played drums on one song).

Hidalgo and Perez did Los Lobos tunes, Latin Playboys numbers, a Neil Young cover (with Molly Maher harmonizing) and a couple of unreleased tunes due on a winter rareties disc entitled “The Long Goodbye.” (see set list below).

St. Paul Mayor Chris Coleman read a proclamation declaring it Willie’s Guitars Day in the Capital City, citing various Willie’s customers including the Rolling Stones, Bruce Springsteen and himself. Coleman later joined show coordinator extraordinaire Maher, local guitar hero Chris Osgood, singers Andra Suchy and Dana Thompson, drummer Dave Ahl and others for the John Prine/Nanci Griffith number “Speed of the Sound of Loneliness.” In introducing the song, acoustic guitarist Coleman (bagpipes are his main instrument) said: “This is not for musical posterity.”

Many other locals followed, including Jack Knife & the Sharps (nicely spiced up by 2007 addition Erin McCawley) and Phil Solem of Rembrandts fame.

I tried to leave early but it took me nearly 45 minutes to get out of there because I ran into Osgood, promoter Gene Hollister, State Fair booker/Trailer Trash frontman Nate Dungan, Cities 97 club crawler Greg Burke, Cabooze booker Taco Martin, drummer Stan Kipper and the inevitable Paul Metsa.

Big props to Willie’s owner Nate Westgor (who played a mean guitar with Dos Lobos on “Mas y Mas”) and Willie’s ace employee and superstar in waiting Molly Maher, who, in an opening set, proved that she is Lucinda Williams without the baggage.

Dos Lobos set list:

How Will the Wolf Survive/????/Saint Behind the Glass/The Valley/A Matter of Time/Big August Moon (unrecorded oldie due on “The Long Goodbye” in January)/Chinese Surprise (Latin Playboys)/Tony Y Maria/Take My Hand/Ten Believers (Latin Playboys)/???/Cuca’s Blues (Latin Playboys)/The Long Goodbye (unrecorded)/Mas y Mas (with Nate Westgor sitting in)  ENCORE Cinnamon Girl (with Molly Maher sitting in on the Neil Young song)

Spoiler alert. Friday’s performance of “A Prairie Home Companion” at the State Fair will be edited for broadcast this evening at 5 p.m. Of course, Garrison Keillor and company were on stage for 3 1/2 hours, which will be trimmed into a two-hour broadcast.

The musical highlights: Doyle Lawson & Quicksilver with their marvelous gospel-tinged bluegrass. Stay tuned for their “Blue Train,” which closes the program. Andra Suchy, a local singer originally from North Dakota, sparkles on several duets with Keillor. They do “Unchained Melody,” which I once saw the Righteous Brothers lip sync in concert; there is never any doubt that Keillor is singing live — or trying to. 

Long Island/Nashville warbler Mindy Smith does memorable turns on her own “Come to Jesus” and a cover of Dolly Parton’s “Jolene,” but her other two selections are marred by unassertive vocals and ham-fisted drumming. And don’t overlook “Woulda Coulda,” a nifty instrumental written by Prairie Home bandleader/pianist Rich Dworsky.

Comedic highlights: Of course, there are plenty of State Fair-themed bits. How bout a Spam Off, in which a judge from Prior Lake evaluates three different creative Spam recipes. But you can’t top the Moo Off, featuring two Californians and St. Louis Park’s Brian Ruhl making cow noises. I was pulling for the homeboy because he’s a big music fan (and his wife, Barbara, works in the Star Tribune’s advertising department). Keillor is quick and witty with ad libs during these contests. He also does a typically intellectually funny bit with cast member Sue Scott about flirting with an English major at the fair.

The outdoor music fest season is far from over. Acoustic folk duo Storyhill (John Hermanson and Chris Cunningham) is hosting an in-state version of its successful Montana camp-outs called Storyhill Fest Midwest this weekend at a lakeside campground in Deerwood, two hours from the Cities. Other performers include Cliff Eberhardt, Romantica, Brenda Weiler and Justin Roth.

Closer to home this weekend, the 11th annual Laughing Waters Bluegrass Fest is once again taking place Sunday from 1-6:30 p.m. at the great gazebo in Minnehaha Falls park (by Sea Salt…. mmm). This one’s free and a lot of fun, with Free Range Pickin’, the Platte Valley Boys, Middle Spunk Creek Boys and some girls, too.

Next weekend (Sept. 10-12) is WookieFoot’s Harvest Fest down at Harmony Park, with Trampled by Turtles, That 1 Guy, Pert Near Sandstone, Fat Maw Rooney and almost 30 more acts.