For more than a decade, singer/songwriter and independent record label CEO Ani DiFranco has been building a diverse and devoted following with her fusion of bluesy guitar and punk rock attitude coupled with expressive lyrics and a frenetic live show.

With her latest live double-disc “So Much Shouting, So Much Laughter,” DiFranco returns to form with a collection of heartfelt, earthy tunes spanning her career.

Performing on independent tours and festivals large and small, DiFranco first put her live prowess on record with 1997’s “Living in Clip,” and while much of “So Much Shouting, So Much Laughter” is an enjoyable look through her amazing musical catalog, much of the album lacks the initial magic that “Clip” utilized to bring DiFranco to prominence.

The skittering, bluesy, percussive rhythms of “Swan Dive” kick off the album, with DiFranco’s velvety staccato delivery beautifully offsetting the jilting feel of the song. Even on the swaggering sway of “Letter To A John/Tamburiza Lingua,” DiFranco augments her fluid guitar lines with a slithering vocal delivery that morphs into harmonized wails at a moment’s notice.

On the melancholy and piano-tinged “Grey,” and the slower, jazzy “What All is Nice,” DiFranco proves even the slow number have just as much soul as her usual scathing, slamming delivery.

Known as much for her guitar prowess and her frankly poignant lyrics as for her politics and “do it yourself” ideology, it is freeform jammed songs like the percussive and intricate “Cradle and All” and the shimmering, building dynamics of “Dilate” where DiFranco truly shines. When given the room to cut loose, DiFranco does just that, with astounding results throughout “So Much Shouting.”

With crowd favorites like “32 Flavors,” “Not a Pretty Girl” and “Jukebox” peppering the album along the way, “So Much Shouting, So Much Laughter” is an album filled with beloved songs, though at times the music fails to resonate. Saving this however are three unreleased tracks including the free form rant “Self Evident,” the mellow “Shrug” and the churning “Welcome To,” which all add intrigue to the album.

Recorded at what sounds to be an intimate club, “So Much Shouting” sounds as though the album was thrown together without mixing or overdubs and it is this element which lends both scars and charm to the album.

With this aesthetic in mind, the listener is given the perfect (blemishes and all) introduction into one of rock’s most intelligent and compelling songwriters and guitarists in her most powerful setting: live. Although the sound isn’t perfect “So Much Shouting, So Much Laughter” gives the perfect forum to one of the loudest and most articulate voices in rock.