It was obvious even before her first Swedish-accented "Hello" just how well Sunday's packed audience at the Fine Line knew Robyn and her music. It wasn't until her second encore, though, that the Stockholm-reared singer proved how well she knew the audience. She did so with two lovingly chosen, cleverly re-created cover songs: a tender and nearly a cappella verse and chorus of Abba's "Dancing Queen," preceded by a hard-thumping tear through Prince's "When Doves Cry." There wasn't a dry eye -- or at least a dry armpit -- in the room after that.

Taking the stage in a zipped-up, punked-out bomber jacket that never could've lasted in the overheated club, the Prince-sized 31-year-old immediately burst into a fireball of energy. She opened with her robotic hit "Fembot" and followed it with the poppier gem "Cry When You Get Older." Stripping off the jacket to a tight, belly-cropped Lycra top, Robyn broke out some fast and furious dance moves for "Cobrastyle." She then bowled over the crowd with her masterpiece "Dancing on My Own," which proves how well she can pull off sexy, upbeat pop with smart, dark undertones.

The rest of the show bounced between those kind of poppy, don't-mess-with-me anthems and the more grinding digi-romps. Fans were exiting in total satisfaction when Robyn unexpectedly reappeared for the second encore, urging of Prince, "If you see him, tell him I love him." The only more fitting finale would have been if she had instead sung "Baby, I'm a Star."

Maybe because most Twin Cities writers know better than to get between Grant Hart and Bob Mould, the new book "Hüsker Dü: The Story of the Noise-Pop Pioneers Who Launched Modern Rock" was authored by a Memphis-based freelancer and humorist, Andrew Earles. He predictably finds little humor here. The book eventually comes off as sour as some of the gripes the members of Hüsker Dü have with each other.

Earles does a terrific job painting the Twin Cities scene of the late '70s and early '80s. As he points out, most scenesters were less than receptive to the disheveled-looking, noisemaking trio from (gasp!) St. Paul. Which is why Hart, Mould and Greg Norton started their own label, hit the road and became DIY trailblazers.

Yet Earles also announces in the introduction that his book will address neither the band's drug use nor the fact that two of its three members are gay. There's also little detail on the band's legal issues with SST Records. It really just seems as if Earles did not want to ask the hard questions. The most glaring hole is that Mould "politely" declined to participate, instead spending most of last year working on his autobiography, due to be published in June.

Earlier this week, Mould said he has not read Earles' work, but he wished it well and emphasized that his tome will be different.

But even Mould should appreciate what Earles does best: make a case for Hüsker Dü's greatness. You can't read the book without wanting to pull out every one of the LPs and crank them.

With so many dance parties, does Minneapolis really need another? Ken Hannigan of local screen-printers, graphic designers, A/V masters and all-around party starters Anthem Heart is the first to admit the overabundance. "When a dance night becomes predictable, it slowly begins to fade out," he says. That's where the twist of Anthem Heart's latest monthly dance night "Recess" comes in: the all-new "Video Portal." Created by interactive video crew Playatta, the new project from Hal Lovemelt (aka Time Squid) takes full advantage of the Varsity Theater's extensive audiovisual capacities via a futuristic photo booth that lets partiers get their images digitally manipulated live and projected onto a large LCD screen. What's more, Playatta will "image map" the Varsity's signature architectural staging through lighting and animation. Thursday's inaugural edition also includes the usual aspects of an Anthem Heart party -- an ever-rotating lineup of some of the top DJs in town (Estate, Espada, Booka B and Fundo), and some brand-new limited-edition T-shirt designs. But for future installments, Hannigan is thinking ambitiously. In addition to eventually bringing back Anthem Heart's popular live screen-printing station, he says, "We want to turn it into a Too Much Love situation where we'll have out-of-town headliners -- and move it closer to the weekend," he says.

Hometown boy Vince Vaughn returns to Minneapolis Saturday for the final stop on his sketch-comedy extravaganza, "Vince Vaughn's Comedy Roadshow." The tour -- which also features some speedy stand-up -- is a sequel to his "Wild West Comedy Show," which was turned into a comedy documentary in 2008. This time, Vaughn is joined by a trio of established comedians, including Jay Leno regular Owen Benjamin, Steve Byrne (Comedy Central's "The Byrne Identity") and another Twin Cities alum, Nick Swardson. Swardson's appearance will be a rare hometown treat for Minnesota fans. The comedian has become quite the Hollywood player, regularly working with Adam Sandler and now appearing in his own (and absolutely insane) TV show, "Nick Swardson's Pretend Time." The road show comes to Minneapolis with one less high-profile guest: Buddy Kevin James has ditched Vaughn for a Las Vegas stand-up gig with Ray Romano. No matter, Vaughn & Co. will have enough firepower as it is.

New bars are sprouting up like weeds. Aaron Johnson's gastro sports pub, Prairie Ale House, opened to huge crowds in Eden Prairie last weekend. Ditto for the Town Hall Tap, an offshoot of the Town Hall Brewery that has been overflowing with inquisitive beer fans since Friday. The Inn has opened in place of the former Subo, where it's serving up sophisticated comfort food with a craft cocktail and beer list. And the new Psycho Suzi's is scheduled to open on Monday (1900 NE. Marshall St., Mpls.). Check back for reports from all of these places.

Just days after celebrating its three-year anniversary, downtown Minneapolis nightclub 414 Soundbar closed on Nov. 7. The club, known for mixing Euro dance music and hip-hop, was located steps from Target Field at 414 3rd Av. N. Owner Johann Sfaellos said he could not resolve a leasing spat with the building's landlord and decided to walk away. One of the building's co-owners said Sfaellos owed back rent, which he was ordered to pay in court. Whatever the case, Sfaellos said he is already looking into opening another club. "I want to go in a different direction," he said. Sfaellos wants a larger space where he can mix Soundbar's intimate feel and dance music vibes with more mainstream sensibilities. He said his working name is Deseo, which is Spanish for "desire."