Even though American Idol has always leavened its auditions with deluded freaks, a tendency it has relied on more as of late, the show has also confirmed the old blind pig-occasional acorn rubric.

Burleson's own Kelly Clarkson was an early example and Chris Daughtry the latest, of which he reminded us when he came to town Monday night for a show on the intimate side of the Gypsy Tea Room.

The sold-out status (about 225 fans), enthusiastic reception and overall positive vibe may well reinforce another bit of folk wisdom: that it is better to do well and not win (as Mr. Daughtry did last season, coming in fourth in what was widely acknowledged as something of a shocker) than to capture the AI crown with its contractual obligations.

Surprisingly, the show skewed toward the mid-30s. While some might denigrate the somewhat questionable vehicle that propelled him into the popular eye, there's no denying the phenomenal sales of his self-titled debut or the fist-pumping cheers that greeted almost every song.

Monday night's show also was the latest in a series of confirmations of a new rock 'n' roll adoration: Where once we lit lighters, now we hoist high our picture-taking cellphones.

And, uncool as it might be to admit in critical circles, Mr. Daughtry rewarded every "Whoooooo!," each shared lyric and all upraised arms.

True, there wasn't much new in his material, a competent-enough blend of emo angst, thrashy anger and acoustic sensitivity, but just because a coin is common doesn't mean it can't be spent well.

Mr. Daughtry distributed his capital judiciously, whether it was "Crashed" or the triumphant declaration of "What I Want" (both from his self-named band's 2006 album).

His judgment paid off with the crowd's reception. Although American Idol's audience is in the millions, he's entered a realm in which victories are measured in the hundreds. So far, so good.