When it comes to seeing a band live, different want people want to see different things. Some people want the flawless execution of their favorite tunes they've cranked up on their iPods. Others revel in getting a unique transformation of those songs when they hit the road. All of them would like to have that "Holy Crap!" moment that has them fumbling for their digital cameras and camera phones so they can show their friends.

MUTEMATH provided a little mix of all three elements at their 100-minute set at the Beaumont Club on Friday night, proving to a moderately receptive crowd why they earned their must-see live act status.

And you could start with the stage. A silver semi-circle served as light show and video screen. Drummer Darren King's spartan kit at stage way-left was accented with a handful of lamps with naked bulbs that would provide their own light show along to his precise pounding. The Beaumont's modest stage size had room for a slew of keyboards, synthesizers and the occasional xylophone.

The electro-rock quartet hit the stage with mostly spot-on renditions of "The Nerve" and the obvious plea for radio, "Backfire," off of their latest album, "Armistice," with little additional sonic accoutrement. Their new tunes have a noticeable change of pace, maturity and pop flair with no instrumental tracks. My friend who came with me said one of these songs was their "Matchbox 20" song, referring to the short jaunt the group made opening up for that band and Alanis Morissette two years ago. With all due respect, Rob Thomas and Co. wouldn't dream of churning out the simmering groove, power surge synth-bass and floating piano of the referred track "Clipping."

Luckily, for fans who were looking for moments of spontaneity, they were quick to follow. King stood up to play electronic drum heads cued up to light triggers on "No Response." Old standbys like the Air-esque grooves of "Stare at the Sun" let the group flex their improvisational muscle and show off Roy Mitchell-Cardenas' nimble melodic gifts on electric and stand-up bass while Greg Hill switched between textures of guitar and synthy accents with no issue. Even the jumbled disco funk of the new record's title track got some much needed tampering with singer/keyboardist Paul Meaney's metal-inspired keytar riffage.

Sadly, this didn't have much of an effect on the hundreds in attendance. Most waited until the song was over to erupt in applause and cheers but remained still and content to just take it in when those tunes were in progress.

It took nearly three-quarters of the first set for the audience to snap out of it and for the band to really get them involved with the fast-paced favorite "Noticed," where the audience emphatically finished Meaney's vocals in parts. Then, the place blew up with their most popular single "Typical" before closing out with a new track of decidedly "vintage" MUTEMATH, "Burden," complete with long instrumental jam and percussive breakdowns.

The group's encore opened with a slow boil of the stripped down "Pins and Needles" before jolting the crowd with the hum-along single "Spotlight." The group capped off the night with a medley of the instrumental slow burn of "Reset" and the punch of "Break the Same" which was packed with instrumental switch-ups, Meaney's pulling off a headstand on his Fender Rhodes and King crowd surfing on a bass drum while taking the time to pound a beat on the Beaumont's rafters before monkey-barring back to the stage.

It's hard to say why a show that provided so many moments could take so long to build momentum with the crowd. While their fanship might could have been questioned on the beginning, the band gave them the means to let their appreciation fly at the end.