This week's performance show throws the Rockers another curve: in addition to singing the songs that INXS chose for them, tonight they will be accompanied by the House Band playing acoustically, with the addition of a string section. Although the music may be unplugged, that doesn't mean the performances can't be electric, as the Rockers respond with a passionate and impressive evening of music.

The excitement starts even before a note is sung, as Dave tries to clear the air about the songwriting clinic. J.D. explains that he wants to make the name J.D. Fortune known to INXS, but he doesn't want it connected to what he thinks is a substandard song. Dave responds that if he had collaborated with Marty and Jordis, using elements from both songs, they could have written a stronger and, possibly, winning song. Dave adds that rock and roll isn't about following rules, a statement that brings a protest from MiG, who wonders if Dave is advocating rewarding people for mischief. MiG is quickly reminded that his team followed the rules and won the contest. But before it all turns into a version of Jerry Springer, Tim tells everyone it's time to sing.

"Knockin' On Heaven's Door" is a song with a history on "Rock Star:INXS" -- it's the song that got Dana eliminated in the first episode. But Jordis doesn't seem worried. In fact, she looks extraordinarily poised as she settles onto her stool in front of the House Band and string quartet. Her vocal is, as we've come to expect, lovely, with some impressive effects thrown in at the end, but her interpretation is questionable. Bob Dylan's song, written for Sam Peckinpah's cult classic movie, "Pat Garrett and Billy The Kid," is sung from the point of view of a dead man. So when she adds "like I have so many times before" to the chorus, you have to wonder if Jordis gets the song. But Dave and INXS are impressed. Dave calls it an honor to "watch a star being born" and concludes "Ya done good, kid."

"Torn," the song INXS chose for Jessica, was written (and originally recorded) by the Los Angeles band Ednaswap and put Australian actress and singer Natalie Imbruglia on the international pop map. A swirling ballad of romantic indecision, it's the kind of song singers can really sink their teeth into, and Jessica needs to show INXS that she can project emotion when she sings. It's a better -- and more accessible -- performance than the ones that have sent her into the bottom three. Dave likes what he hears, telling her that "less of you is more," while Tim simply calls it her "best performance yet."

Rod Stewart's smash hit "Maggie May," his first chart topper, is a tall order for any singer, given that Stewart is a songwriter of surpassing empathy and melodic gifts. But Ty's decision to sing the song with a soulful edge, to, in his words, "give Maggie May an Afro," pays off. Singing just behind the beat, he leans heavily into every syllable, which gives his phrasing the propulsive excitement of Wilson Pickett and Otis Redding. It's a performance that blows away Dave and INXS. Dave calls it "unbelievable," and Garry loves his take on the song. Tim agrees but has a problem with Ty's sticking his tongue out three times during his performance.

Suzie follows with "Bring It on Home to Me," by one of Stewart's biggest influences, the legendary Sam Cooke. It's a classic song, covered by just about everyone from The Beatles to Aretha Franklin, but it's a song Suzie had never heard before, yet she sounds right at home singing it. Elegantly hip in a hairstyle that makes her resemble Gwen Stefani, she starts the song like a lounge singer, leaning against the piano but ends it in a powerful pop-soul mode, using all of her vocal power like a more restrained Mariah Carey. Dave can't believe Suzie didn't know the song, saying it sounds like she's been singing it her entire life. Garry thinks the stripped down format works for her, adding she has possibly the best voice in the competition, while Tim just calls it "fantastic."

In rehearsals, Marty wasn't sure what he would do with the Britney Spears' hit ". . . Baby One More Time," but judging from his performance, he figured it out (maybe he also heard the other versions by Travis, Bowling for Soup or Marilyn Manson). His deep growl of a vocal, reminiscent of Gomez's Ian Bell, brings out the song's darker shadings. Although he jokes that he'd be beaten up if he sang the song on the South Side of Chicago, he has to admit that it's a good song. It makes Dave uncomfortable, because he liked it as well, while Kirk thinks INXS was right to have him sing the song because it took Marty "outside of his box."

Deanna was forced outside of her comfort zone as well. "I Can't Make You Love Me," written by the country songwriting team of Mike Reid and Allen Shamblin and a hit for Bonnie Raitt (and also recorded by George Michael, Chantal Kreviazuk and Prince) is a big torch ballad that demands the kind of breath control and vocal technique that's been Deanna's biggest weakness. You can hear the effort in her voice -- she's so intent on getting the right feel of the song that she's flat by a half-tone for most of it. Tim hears her discomfort, while Kirk is glad the band pushed her into a different zone.

J.D. was given the assignment of The Rolling Stones' "As Tears Go By." An uncharacteristically gentle song for The Stones, it was originally written for Marianne Faithfull, then Mick Jagger's girlfriend, but The Stones had the bigger hit, reaching No. 6 on the charts. J.D. -- looking like a scruffier version of Justin Timberlake -- sounds like he chose the wrong key for the song, because his singing is a raspy whisper. Dave doesn't think he was as riveting as in the past, while Garry sees his passion but doesn't think it's his best moment. Tim, on the other hand, thinks he sang from his heart.

MiG ends this week's show with Peter Frampton's No. 1 hit "Baby, I Love Your Way." It's not a song MiG was initially excited to sing, but he decides that performing it solo, accompanied only by his piano playing, is the way to go. He's right. His performance, with its hints of Billy Joel in his phrasing and the piano runs, gives the song a glossy sophistication, while the final verse's more emphatic vocal is all MiG. It's an unabashedly romantic performance -- one that has Dave thinking about how much he loves his wife, Carmen Electra. Andrew is amazed by MiG's work on piano, and Garry calls it a bold move and one that pays off. Jon simply calls it a perfect way to end the show, which it is.

With such strong performances, it's anyone's guess who will end up in the final three this week. It's possible one of your favorites will be up for elimination. Stay tuned and find out at 9PM (ET/PT) Wednesday on CBS.