Stadium shows are all well and fine, in the sense they provide fans a momentary sense of solidarity. It doesn't matter that you're packed in with thousands of complete strangers, or that the stage is light years away from you, or that the sound is so dissipated it might as well be a Martian broadcast. What matters is the event, and the "I was there!" bragging rights. We've all been there, and we'll proudly proclaim 'til our dying breath, "That show was the best freakin' concert I ever saw!"

To really appreciate an artist, though, you have to see them in a more intimate setting. Clubs, where the nuances of the music interact with audience reaction most intently, are the ideal venue. Smaller halls, particularly those with amphiteatre-style seating aren't quite as personal, but the acoustics in those environments, coupled with their casual atmosphere, nonetheless leave you with the sense you've witnessed a performance. And that stays in your memory a lot longer than a stadium show ever will.

Robert Plant, especially during his Led Zeppelin days, did a lot of stadium shows. That's why Robert Plant and the Strange Sensation, his first-ever solo DVD release, is an unexpected pleasure. Originally aired 29 June 2006 as an installment of PBS's Soundstage concert series, this is a seamless performance that showcases Plant and his latest band, the Strange Sensation, in a relaxed environment.

Plant and the band ease into the show with a Middle East-inspired version of "No Quarter," heavy on accoustic, dreamy percussion and loping rhythms. If it comes across as a bit stately, it's because it quietly sets the tone for the rest of the concert. This is a show that moves at its own pace, unfettered by preconceived expectations. Sure, the obligatory Zeppelin tunes are in there, but sprinkled judiciously between tunes mostly from his Mighty Rearranger album. The version of "Black Dog" here sounds familiar, but the arrangement takes the song into new territory.

At heart, Plant has always been a blues singer, and throughout the concert, he works that aspect of his talent into all of the material. While some say he can no longer hit the high notes he did in Zep's glory days, I'm inclined to believe his voice has evolved into something closer to the source influences. Either way, he can still belt out a tune better than most. He no longer need to hit the high registers to prove a point--his stylings are rife with authority. A listen to, say, "Gallows Pole" will dispel any doubts to the contrary.