It would be difficult to find another tandem that could rival the intensity Pearl Jam and Sleater-Kinney brought to the Wachovia Center Monday, Oct. 3rd. Fresh off a show in Pittsburgh opening for the Rolling Stones, Pearl Jam showed no signs of fatigue when they treated Philadelphia to a three-hour set complete with radio favorites and b-sides.

Fans filing in to see Sleater-Kinney were surprised to find the trio fronted by Eddie Vedder. He led the band’s rendition of Bruce Springsteen’s “The Promised Land” before exiting the stage and letting the ladies take over. Sleater-Kinney vocalist/guitarist Corin Tucker formally kicked things off with The Woods opener “The Fox,” a song so heavy with power chords that it quickly captured the audience’s attention. Tucker’s vocal shrills coupled with lead guitarist Carrie Brownstein’s rapid riffs, building up a cyclone of sound and energy that swept through the building. Brownstein jumped around the stage while strangling her guitar’s neck to emit solos that sounded like wails for help.

It was during this electric output, however, that one of the lingering flaws of the night was first exposed. The vastness of the Wachovia Center created distortion and feedback for both bands, but it seemed especially unforgiving for Sleater-Kinney. The reaction from the crowd was split. Some danced along with the band, thrusting themselves into the aisles, while others used the time to replenish their beer cups. Unfazed by the sound problems, the ladies plowed through their set, which heavily featured songs from The Woods. Highlights came from the poppy “Modern Girl,” which displayed drummer Janet Weiss’ ability to play harmonica while keeping a beat. For a finale, Sleater-Kinney invited Pearl Jam onstage for a cover of Danzig’s “Mother,” drawing thunderous applause from the noticeably larger crowd beginning to trickle in.

Pearl Jam dropped a subtle hint by opening its set with “Wash,” a b-side off 1991 debut Ten. “If you were waiting for us, know that we were waiting for you too,” said Eddie Vedder as he welcomed the crowd. “We’re picking songs tonight that we don’t play every night.” These words were met with loud cheers of approval. Two more songs from 2003 rarities/b-sides album Lost Dogs came next, “Sad” (propelled by a Latin-sounding guitar riff) followed by the murkier, more untamed “Alone.” Bassist Jeff Ament launched himself into the air during the radio hit “Even Flow” while Vedder thrashed around onstage, shaking his hair like a wet dog. The night’s extensive set list also featured a variety of covers: “Bleed For Me” by Dead Kennedys, “Little Sister” by Elvis Presley and “Harvest Moon” by Neil Young (whom Vedder affectionately refers to as “Uncle Neil”).

One of the more humorous parts of the evening came during a cover of Victoria Williams’ “Crazy Mary,” which Pearl Jam recorded for 1993’s Sweet Relief, a benefit compilation for the alt-country singer/songwriter. “This one’s about a lunatic and [it’s] not me,” said Vedder as he introduced the song. At the end of the second verse, however, an amp blew, filling the Wachovia Center with audience groans. The band stopped playing to make adjustments. A visibly shaken Vedder stammered, “I don’t know where Mary is these days, or if she’s still alive, but I’ve never called her insane publicly before. Let’s play something else.” After some coercing from the crowd and Pearl Jam guitarist Stone Gossard, however, the superstitious frontman continued. Even at night’s end, with the house lights flooding the arena, the band played on. Before finally saying goodbye, lead guitarist Mike McCready gave fans one last treat, leading the band into the familiar opening riff of “Yellow Ledbetter.” The reminiscent notes and enthrallment of the crowd made it clear that while the grunge scene is no longer alive, Pearl Jam and Sleater-Kinney breathe life into a rock scene desperately looking for fresh air.