What's the best way for a band to introduce new music to a friendly audience, particularly if the group in question doesn't have the benefit of instant airplay on pop radio? Simple. Air the disc out. Underscore the vitality of the unfamiliar material with a performance that digs deep. Grab listeners with the hook of each tune and then travel as far afield as the muse demands before returning. Keep a firm grip on the momentum. Don't let up.

That's the strategy Galactic successfully employed when the New Orleans funk sextet opened their spring tour on April 5 at the House of Blues in Orlando. The band, whose third album, "Late For the Future," was released one day earlier, ran down practically every track from the new release. The sweaty two-hour set had tapers taping, dancers dancing, fans issuing their approval, first-timers talking like potential converts and merchandisers doing a steady business selling t-shirts, CDs and other souvenirs.

Galactic, practically turning in a live listening party, ripped the concert open with the nasty guitar scorch of "Black Eyed Pea," the opening track from "Late For the Future," initially recorded in 1994 for the "Is That Jazz" compilation. It remains a corker of a piece, driven by Jeff Raines' distorted six-string attack, Stanton Moore's irresistible backbeat and Rich Vogel's B-3 melody, doubled by saxophonist Ben Ellman.

The band then continued with other new material, following the sequence of the disc for the first eight or so numbers. "Baker's Dozen," written in honor of the Dirty Dozen Brass Band, benefitted from an organ romp and moments of pure sonic frenzy.

Singer Theryl "Houseman" de Clouet, the group's secret weapon (aside from Moore), emerged from the wings for the sexy come-on of "Thrill." Dressed to the nines in a shiny gold silk suit, de Clouet strutted, leaned back and sank his impressive vocal chops into the slinky R&B grooves. The vocalist stuck around for the slow-burning "Century City," decorated with a psychedelic wash of guitar and keyboard textures and Ellman's gritty baritone saxophone lines. De Clouet returned later for a haunting ballad, "Running Man," "Vilified" and old Chocolate Milk tune "Action Speaks Louder Than Words," all three boosted by his old-school soul/funk approach. "Thank you for coming out for the funk," he said. The feeling was mutual.

Also entrancing (from "Late For the Future") were "Hit the Wall," built on a sort of Middle Eastern theme voiced by Ellman's bari, and a pair of experimental-minded interludes, loosely related to "Jeffe 2000" and "Bobski 2000." Ellman's trashy, wheezing harmonica allied with Raines' bluesy metallic crush on the first piece, and the sequel had Moore slamming on a tambourine, a mic stand and, eventually, his bandmate's guitar.

Galactic, additionally touching on earlier favorites from their repertoire, and making a nod to Toots and the Maytals' "54-46 That's My Number," emphasized a sort of newfangled psychedelia more heavily this time than during past performances. The wah-wah guitar, intriguing sound effects and pure spontaneity of certain sections made a natural complement to the sticky Meters-inspired grooves.

Our only complaint: Galactic loves to play for hours on end, and will do so when given the chance. Why wait until 10:20 p.m. to get these guys on stage? (No disrespect to Kow. The Orlando band opened with a charismatic, deeply funky blast that was wildly received and got well-deserved acknowledgment from the headliners). - PHILIP BOOTH

For more information on Galactic, go to http://www.galacticfunk.com/