Blondie rode the new wave of the late 1970s to the top of the record charts and into the Rock and Roll Hall of Fame.

The question is, where do Debbie Harry and company go from there?Blondie's lively performance at Penn's Peak in Jim Thorpe Wednesday night revealed some answers for those who caught this recent edition of the band in action.The 2010 model includes original members Harry, Chris Stein and Clem Burke along with a trio of cohorts who were able to summon up whatever musical whims the band conjured up.Harry, who brought an aura of glamour and chic to Blondie, came on stage wearing shades, a black jacket and a white skirt. She was in good spirits and seemed to be enjoying herself as she handled the microphone and moved about the stage, taking her turn in the spotlight when singing her vocals, then moving back at times to watch her bandmates do their work.By the fifth song, Harry removed the jacket and dark glasses and continued to engage the audience, encouraging it to sing along with Blondie's best known hits.Harry's vocal command is impressive, given the great variety of styles in which Blondie has dabbled over the years. She hit the high notes of "Maria", the single from its 1999 "No Exit" comeback album and was able to call out her trademark rap on "Rapture" without missing a beat.That doesn't mean Blondie was playing it safe, however. A band that has had four number one Billboard singles wouldn't seem to want to tinker with its tried and true formulas, but then Blondie has never been afraid to mess around with its sound.One case in point was "The Tide is High", one of two chart-toppers from the 1980 "Autoamerican" album. While Blondie retained its reggae-like rhythms, it rocked out at the end of song. Stein's guitar added texture to the tunes, but he let Tommy Kessler handle the lead six-string work.Blondie is in the process of releasing a new album, "Panic of Girls", by the end of this year, and it showcased some newer material. "D-Day" opened the show with a bang, and other songs such as "Mother" and "Love Doesn't Frighten" fit in well with the more familiar repertoire.A highlight of the performance was "Atomic", a disco-flavored song from 1979's "Eat to the Beat" album that just cracked the Top 40 in the U.S. but was a major hit in other markets around the world. This version rocked out with an explosiveness, if one can forgive that pun, at which the studio version only hinted."Call Me", another number one single, this time from the Richard Gere movie "American Gigolo", shifted its tempo, giving Harry an opportunity to provide added emphasis instead of taking the vocal for granted.A couple of power-pop gems from the "Parallel Lines" album, "Hanging on the Telephone" and a pulse-pounding "One Way or Another" were reminders as to how effective Blondie once was in working that genre. "The Hardest Part", originally from "Eat to the Beat", was another welcome blast from the past.Burke wore a black CBGB's T-shirt, a relic from the band's new wave days NYC stomping ground. He remains a powerhouse drummer and a lot of fun to watch with his propulsive bashing. Leigh Foxx on bass kept the rhythm flowing through Blondie's various stylistic changes.Keyboard player Matt Katz-Bohen added some flair to the music, even stepping out front to produce wild sounds from his "keytar".Blondie rapped up the evening with style, with Harry carrying "Break Your Heart" and then leading the band's signature disco anthem "Heart of Glass", which also produced plenty more bite than one would expect from that era.While long-time fans might be able to point to missing favorites ("Dreaming" would have been nice, as would some of the more girl-group pop songs like "Sunday Girl" and "In the Flesh"), that's a minor quibble and points to the success Blondie has managed to build within its own catalog of styles.For the most part, Blondie had all the bases covered.Gorevette, a Detroit-based quartet fronted by singer Nikki Corvette and guitarist Amy Gore, opened the show with its own take on full-throttle new wave rock. "Girls Like Me" and "Lustfully Yours" gave an idea of what Gorevette is about, as do energetic covers of The Knack's "Good Girls Don't" and English punk band The Buzzcocks ("What Do I Get?").