The Barbican's Beyond Nashville festival, now in its second year, is based on the idea that there is often more interesting stuff to be found in a genre's margins, nooks and crannies than in its mainstream - and that this music is likely to appeal to jaded urban listeners if it is defined by what it is not. But though we all try to avoid the f-word and the c-word, it is folk and country, with their tradition of storytelling, that underpin acts such as Alejandro Escovedo.

The Barbican audience got a taste of this from his long introductions, which were spoken over instrumental noodling from a cut-down backing band. In the US, Escovedo tours with a 12-piece ensemble, and perhaps that is why during this London gig the music didn't always ignite: the six musicians relaxed and let rip on the predictable rockers, but sounded constrained by the more imaginative arrangements. Yet these are the numbers that give Escovedo his distinctive edge.

A key component is Gonzalo Bernal's cello, which wept and swept beautifully behind the verses, echoing the role of a Nashville pedal steel guitar. Long-time drummer Hector Munoz pulled everything together crisply. with a well-crafted, hybrid style. Matthew Salmon contributed intriguing samples and analogue synth noises to pieces such as Five Hearts and Sex Beat (a Gun Club cover), which began in an atmospheric fashion reminiscent of Stan Ridgway's noir scenarios. Follow You Down was warmly dedicated to Texan folk legend Townes Van Zandt.

Escovedo's voice is a curious mix between a punky whine and a warmer, rootsier delivery. The former predominates on the monotone anthems; the latter emerges for the better-crafted songs. Playing support to Lambchop (Quartet) - which is actually, on this occasion, a five-piece - Escovedo's band sounded as if they needed to stretch out to make us really believe in the leader's engaging stories.

· Escovedo plays the Borderline, London W1, on Wednesday. Box office: 020-7734 2095.