Sunday evening at the Schottenstein Center was interrupted by a visual assault from protest signs proclaiming “Support our troops, not the Dixie Chicks” and “Impeach Bush, Natalie for President.” While the protesters at the Dixie Chicks’ Accidents and Accusations Tour were few, they set the tone for the awkwardness of the evening.Opener Anna Nalick received a lukewarm reception until her pop hit “Breathe.” More rock than expected, Anna is a mix of Lita Ford and Avril Lavigne backed by the remnants of an 80’s hair band. It was a discomfited display of musical styles.

The Dixie Chicks took the stage in a haze of red light to the strains of “Hail to the Chief.” The sarcasm of this statement was not lost on the enthusiastic crowd. After opening with “Lubbock or Leave It” the Chicks rocked the house from the first chord struck.

Surprisingly fresh-faced, the Chicks were clad in black denim, leather and satin – rock ‘n’ roll angels of country music. With self-righteous lyrics and apprehensive verbal interludes, the Chicks seemed genuinely grateful for the overwhelming audience support.

The crowd stood on their feet throughout the first ballad and the party really got started with the angry woman anthem “Goodbye Earl.” The few scattered males in the audience looked a little frightened when thousands of women chanted, “Earl had to die.” The title track of the new album, “Taking the Long Way,” was well-received and the audience matched the ladies word for word. “Long Way” was followed by Chick classics “Landslide” and “Cowboy Take Me Away,” and new tracks “I like It” and “Everybody.” After “Cowboy” the theater fell dark as lead singer Natalie Maines emerged into the spotlight with an omnichord. A hush fell over the crowd as the Chicks crooned “Lullaby” in sweet acoustic harmony.

The Chicks kicked it up again with “White Trash Wedding” and “Lil’ Jack Slade,” a hard-picking instrumental that gave Maines her only vocal break.

Natalie returned with the political and personal song “Not Ready To Make Nice” and the ballad “Easy Silence” which easily induced silence in the crowd. The ladies’ voices were a little too tired to handle the subtleties of the soft song, but it was beautiful despite a few cracks.

“Long Time Gone” and “Some Days You Gotta Dance” had the audience dancing while “Top of the World,” “So Hard When it Doesn’t Come Easy” (a song about fertility problems, lead singer Maines explained), and “Wide Open Spaces” were lit by the glow of cell phones.

When the Chicks tore it up with the rockabilly tune “Sin Wagon” even the senior citizens were on their feet with their fists in the air. The set closed with the movie track “Ready to Run,” a song with more of a rock than pop sound when played live.

After 10 solid minutes of head throbbing screams, the Dixie Chicks returned for an encore. “Traveling Soldier,” their Vietnam era ode was a beautiful addition while their cover of Bob Dylan’s “Mississippi” was misbegotten.

The show ended with the bluesy-gospel single “I Hope,” their most political and spiritual song of the evening. Natalie encouraged a sing-along on the simple chorus.

Despite problems with feedback and video, the Accidents and Accusations Tour was everything a country-rock show should be; musically and lyrically strong, visually appealing, without pretensions or vanity. No costume changes or stunts, just music – pure instrumentation and harmonies mixed with stunning lead vocals.

In the Dixie Chicks we have a rarity; a talented group of three mature women that actually sound better live. Strip away the hype and politics and you’re left with music legends. The show can be described in one word: Mesmerizing.