The Undercover Girls put a fresh, original spin on a variety of rock hits spanning the 60s on. This five-member band delivered a non-stop, high-energy performance through a 45-minute set. The act blazed through a number of songs including The Romantics’ "What I like about You," Elton John’s "Saturday Night’s Alright for Fighting," Blondie’s "One Way or Another," Rolling Stones’ "Honky Tonk Woman"; Three Dog Night’s "Mamma Told Me Not to Come," Steppenwolf’s "Born to Be Wild," Pat Benatar’s "Hit Me With Your Best Shot," and Dusty Springfield’s "Son of a Preacher Man." Each tune was done of the level of stadium/arena rock caliber. Out of the ten songs, two stood out the most: Nancy Sinatra’s "These Boots are Made for Walking" and Wing’s "Live and Let Die." The first took the go-goish number to another level with a fierce, driving rock and punk beat supplied by Sylvie LaCroix, the lead guitarist. LaCroix gave the song a snarling vocal treatment making one forget the sultry Sinatra original. The symphonic "Live and Let Die" remained intact in the capable hands of the UnderCover Girls. A big, grand feel was present as the song built to an exhilarating crescendo powered by drummer Tris Cassel and bassist Liza Sanchez. Then it dropped to the more subtle, ballad-like verse and chorus arrangement by keyboardist, Julie Dolan. The ability to rock out and have a great time was obvious onstage as the girls seemed to enjoy themselves wearing big smiles on their faces and radiating a positive, happy glow throughout the show. This infectious spirit from the band bled over to the audience as well. The small but eager crowd got up quickly to dance to almost every song.

Never still for a minute, this band has unlimited stamina. Striking poses with their respective instruments, whipping their hair around and mugging it up with bandmates moving back and forth in time with the music, The UnderCover Girls are tireless study in motion. Jessica Pennington’s stylized melodramatic singing fueled the material taking it out of the mere realm of reinterpretation and making the songs her own. With influences ranging from Pat Benatar to Terri Nunn of Berlin to the stage’s Patti LaPone and Ethel Merman, it’s no wonder Pennington believes in the power of performing each song very big. The bold, wide-eyed singer has the requisite panache and confident attitude as a strong frontwoman. Pennington has raw sexual appeal and utilized several exaggerated body gestures such as flirtatious looks and sinewy gyrations working them to full effect and getting the crowd excited about the music as she made it sound new and vital again in the process.