LIGHTEN UP, FRANCIS - The world needs you.

Sage Francis has become an industry. As proof of that, this show consisted only of acts related to Francis in some way. The opener, Buddy Wakefield, is signed to Francis' Strange Famous label. And both producers who performed prior to Francis, Alias and Buck 65, while having solid careers of their own, have contributed to Francis' albums. In the past five years since the release of the acclaimed Personal Journals on Anticon, Francis has appeared in Cleveland to ever-swelling crowds. His latest Epitaph album will, without question, further this support. Regardless, Francis occupies an important cultural space. He remains overtly critical of the political structure of this country even as his popularity has begun to outgrow the underground hip-hop scene.

In the back, near the bar, there were even a few well-meaning white-trash break dancers who kept busy for the entire show. In his typical upstart fashion, Francis constructed the set around what seemed to be his favorites. The early angst of his career was recalled with "Makeshift Patriot," which he delivered half-way through the set. Easily surpassing the relevance of his personal material, the political energy it created really moved the crowd. "Climb Trees," another song from the early part of his career, found fans chanting along. He also touched upon new material, most notably the Buck 65-produced "Got Up This Morning," which, even with questionable theme, pleased everyone in the Grog with its acoustic blues sample and staid beat. An ever-growing acceptance of white rappers may find Sage Francis visiting us again in a larger venue, perhaps at first supporting a more mainstream act, but eventually headlining in front of more substantial crowds. If you caught this terrific show, you could say you saw him during his formative years.

Def Leppard

Blossom

Talk about longevity. Thirty years later and 65 million records sold, Def Leppard has cracked the code of endurance. Trekking forward in spite of various hardships, it continues to tour, still packing the house. In short, Def Leppard still matters, and on this balmy July evening, everyone in attendance knew it. The band provided sensory overload, delivering hits such as "Rocket," "Animal" and "Foolin'," as if the jukebox were stuck in overdrive. The 1981 "Another Hit And Run" was a nice surprise as was the cover of the David Essex hit single "Rock On." The latter was the only song played from the 2006 tribute (covers) release, Yeah. The well-constructed runway allowed frontman Joe Elliott, guitarist Phil Collen and the entire band to work the stage. They did that best during an acoustic set that took place at the end of the runway. At one point, a few bars of Ian Hunter's "Cleveland Rocks" were played, while huge movie screens and fantastic lighting was used throughout the show. "Hysteria," "Armageddon It," "Photograph" and "Pour Some Sugar on Me" were right on the money, and Elliott's voice sounded as strong and commanding as ever. They closed the set with the classic "Rock Of Ages," which seemed highly appropriate considering its theme is "long live rock 'n' roll."

Led by founding member and rhythm guitarist James Young, Styx was on before dusk and received a warm welcome when it opened with "Blue Collar Man (Long Nights)." Keyboardist Lawrence Gowan did his best to fill the void of vocalist Dennis DeYoung and did an adequate job, though at times his stage antics were a bit over the top. Sharing vocal duties with Tommy Shaw, the guitarist introduced the title track from the band's first album, Crystal Ball. Later, its staying power became more evident as he announced the song "Fooling Yourself" from Grand Illusion just turned 30. As guitar picks and beach balls flew about, Styx remained musically sound, obviously enjoying themselves, especially during crowd favorites "Come Sail Away" and "Renegade." -Karen Laney

Bob Dylan

Plain Dealer Pavilion

Most concerts, you're sure to hear at least a few of your favorite songs. But with trickster Bob Dylan and that voluminous catalogue at his disposal, it's far from a guarantee. Even when you do hear one, it probably sounds nothing like it did when you first fell in love. But it's Dylan, and he still conveys that silent aura that says, "You just sit there and shut up. I'm the Bard. I don't come to your office and tell you how to use the stapler." On Saturday night, looking the country gentleman in black tux, ascot and a wide-brimmed black hat a la Stevie Ray Vaughan, Dylan and his five-piece wonder band alternated between new songs off his last three critically hailed albums and old favorites, most of which sounded nothing like you expected. Of course, that doesn't stop a feeling of graciousness from washing all over you. Who cares if a song like "Stuck Inside Mobile with the Memphis Blues Again" is cast as a '50s sock hop ditty sung by Springsteen?

Leading off the night on guitar with one of several new blues numbers, Dylan quickly set a light tone as he bounded into a less-heartrending "Don't Think Twice It's All Right," with the simple rattle of a snare keeping time and even a few lines of lyrics belted out rap-style. At every identifiable refrain, fists shot into the air. One lady said to a friend early on: "Can you believe this shit!?" Her friend couldn't. Dylan's voice sounded as good as you're ever likely to hear it, and the songs all had that authoritative timbre, even if you still can't understand half of what he says. Good thing that, once you decipher the song he's doing, you probably know most of the words anyway. And then that raspy snarl is nothing but charming. Dylan set the guitar down at the sixth song, opting to stand at his electric piano for the rest of the numbers. From that point, the show chugged forward like a train to nowhere in particular.

But he certainly hit more than he missed the mark. The old man's lament "My Back Pages" was turned into an organ-inflected Irish waltz, ending with some of that sloppy harmonica magic. The slinking and creepy Leonard Cohen-esque "Things Have Changed" had Dylan throwing the last note of each verse into the upper register for an ascendant quality. And the sad and true "Nettie Moore" was sweet and nostalgic as always, but even more so with orchestral touches and an even extra singsong tone in Dylan's nasally delivery. He ended the night with one of America's faves, "Blowin' in the Wind," but the remix, again, fell short of the immediacy of the original. He hadn't said a word to his fans all night, but that's to be expected. Still, he could have thrown in something like "Masters of War" and sung it like a war was on to make you scream "YES!" just like the first time you heard it. And so I left feeling, as I suspect others did, like I was carrying a cool new toy on Christmas morning, but not the one I'd begged for all year. - Dan Harkins