Imelda May defines, refines rockabilly at Union Transfer

With rockabilly bigger throughout the British Isles than in its place of origin - the American South - it makes some sense that one of its tastiest practitioners is from Dublin: Irish singer-composer Imelda May.

But with a crack band and a powerful, nuanced voice that is equal parts Wanda Jackson and Eartha Kitt, May is no purist copycat. During Tuesday's sold-out Union Transfer gig, May showed she's taking rockabilly to the next level, retaining its traditions and inspirations, and making new fans. With this show, May proved she is the genre's Amy Winehouse: a glorious definer and refiner.

In a tight, leopard-print dress, with a blond curl at the front of her brown hair, May hit the stage to the diabolical guitar twang and skiffle rhythm of "Tribal," the bucking title track of her new album. She never let go of the reins. "You're a king, you're a queen, you're a wizard, a fool / Or, if you're like me, then rockabilly rules," she sang.

In "Love Tattoo" her rangy purr became a whisper. She slithered through the sinister "Wicked Way" and the overheated "Hellfire Club" like a snake through broken glass.

May and company cruised through the swinging "Wild Women" and the trumpet-driven "Big Bad Handsome Man" with fun and fury, before touching on the rapid-paced gospel revivalism of "Go Tell the Devil" and the gracefully joyful "It's Good to be Alive" - all with cheer and sensuality.

Austin, Texas-based opening act the Bellfuries gave May a run for her money. Drummer/harmony vocalist Chris Sensat and upright bassist (and Philly native) Jeff Seaver balanced understatement and the slap-'n'-tickle overdrive essential to the rockabilly sound. Guitarist Mike Molnar, a phase-shifting, twang-bar king, had an atonal edge, and lead vocalist Joey Simeone - a Dave Edmunds sound-alike - was wildly, elegantly mournful.