The collaboration of Jon Spencer, he of the Blues Explosion and Elvis fixation, and wife Cristina Martinez, with her Courtney Love screaming and a propensity for shedding her clothes, is an odd but strong one. Ten years after their debut, Cold Hands, Boss Hog have made their best album yet, the short but shimmering Whiteout. Diverse, with everything from gospel to goth to 60s garage, it's the band's most polished, poppy performance.

But it's still all about attitude. Martinez sashays on to the stage, a New York princess in low-slung leather trousers. She looks like Alanis Morrisette's evil twin sister as she rips into Strawberry, grinning dementedly and lurching towards the crowd. From the sweetness of Nursery Rhyme to the pleading pop of Fear For You, Martinez purrs, struts and coos.

Spencer seems more than happy to let his wife take the glory, too busy orchestrating the funky punk-blues fusion to look up from his guitar. Which is a shame, because it's when the couple share vocal duties that Boss Hog's songs really come alive. Chocolate is a sleazy doublehander, as Martinez sings about "my baby" and Spencer fixates on a "dirty movie", while during Jaguar they yearn to "pull out the big guns, baby". Together they are the Richard and Judy of cool. The rest of the band, especially new boy Mark Boyce on the Hammond organ and Hollis Queens on drums, add weight and coherence to the Boss Hog sound, but it's the Spencer household that are true stars.

The intensity doesn't let up until Martinez announces "We're taking a lil' break right now," and the band leave the stage, returning moments later to play Whiteout, a spiralling gospel tinged epic that manages to be catchy and uplifting without losing the grubbiness that Spencer does so well.