After last week's surprise decision by INXS to eliminate two Rockers, nobody wants to end up in the bottom three. They know they have to be at the top of their game. But with a few of them performing songs they're unfamiliar with, it's anyone's guess what will happen.

MiG is certainly familiar with his song selection, "We Will Rock You." He's performed it six days a week -- twice on Wednesdays and Saturdays -- when he appeared in the West End production of the Queen musical that takes its name from this song. His choice was a no-brainer. How could he not knock this one out of the park? He does, of course, but what's most impressive about his performance is that while practiced and smooth, it doesn't sound rote -- a talent that could come in handy if he gets the INXS gig. On tour, a singer has to perform a tune hundreds of times and make it fresh every show. Dave says MiG made him feel like he was at a rock show; Tim tells him that "after what J.D. did to 'Champions,'" the members of Queen "will be really happy you did that."

Deanna has been one of the more unpredictable performers on the show. Some weeks she's spectacular, others you wonder why she wasn't in the bottom three. Her performance of Melissa Etheridge's "I'm The Only One" is one of her best. There's a dusky quality to her voice that serves the song well, and the results of this week's vocal clinic can be heard in the way she throttles her way into the chorus. It's a little rough in places -- her voice frays on some of the high notes -- but she achieves power without turning strident. She may not be the only one who is willing to walk through fire to sing with INXS, but she's the first to walk through the audience to sing on INXS's platform. It's a bit of stagecraft that especially impressed INXS. Garry likes that she "seized the moment" and welcomes her "back to the party." As a songwriter, Andrew appreciates that Deanna picked her spot in the song well. "You listened to the lyrics," he tells her.

After a moment like that, it's probably best that Marty chose a power ballad: Creed's "With Arms Wide Open." The chart-topper has probably been the soundtrack to more fumbling senior prom seductions than any other song about pregnancy. He brings a Bowie-esque edge to the verses, but his vocals are accompanied by the return of his flailing "spaghetti arms," which Dave calls the "scary conductor." He also says Marty's performance is the best he's ever heard the song done. Jon likes the way Marty has "harnessed that intensity," which makes his performance "so much more powerful." Garry tells him he's a "completely different performer" than he was a month ago, and he "can't wait to see where you'll go from here."

Ty also wants to show INXS his growth and range, so he takes a chance and performs the Foo Fighters' "Everlong," a song he'd never heard before this week. Considering the vocal line's tricky rhythmic tics, he pulls it off admirably. He makes the case that he can rock with the best of them. Dave is glad Ty got a chance to know the song, one his favorites, while Garry found his performance so assured, he can't believe Ty had never heard it before. It's "incredible," he tells him.

While Jessica had heard of "Blister in the Sun," the 1982 underground hit is not a song that allows singers to strut their stuff. It's almost a folk-rap tune. Her performance answers the musical question: What would a Violent Femmes song sound like if Liz Phair sang it? Like Phair, Jessica's vocal is affectless, slightly whiney with flat intonation and flat-footed phrasing. Dave compliments her for even attempting a song that "really shouldn't be in a vocal competition," but says that what he misses is her personality. "This is it," Jessica tells him. Wrong answer. Dave tries to throw her a life rope, telling her that some of rock's strongest frontmen are "not the best singers," but she's already gone under twice, and admitting that's her true personality could be her third strike. Garry says that it's a good thing she sings INXS songs well.

Ironically, given his initial reluctance, Brandon is the second rocker whose performance benefited from this week's vocal clinic. Tonic's "If Only You Could See" is not Brandon's showiest vocal, but it is his most controlled, and following his performance last week, he needed this. But what is up with that fall? It's the kind of move that Eddie Vedder might get away with, but it has nothing to do with the doleful love song. But Kirk notes that he "really got something from the vocal clinic," while Dave says he "looked great, sang great, and performed great."

Jordis performs David Bowie's "The Man Who Sold the World" in an arrangement closer to Nirvana's from "Unplugged in New York," and it's a lesson in how to do more with less. She doesn't try to hit you over the head with sobs (although she does fight off tears) or bowl you over with volume like System of a Down's Serj Tankian; it's a simple, unadorned vocal that feels honest and is all the more effective because of it. And her performance left INXS nearly speechless. "Powerful ... awesome," Tim tells her; Andrew pronounces it "truly moving."

On "The Letter," J.D. took just the opposite tack. In the original single by The Box Tops, 17-year-old Alex Chilton sounds like a wizened, whisky-soaked bluesman; in his hit cover, Joe Cocker turns the song into Ray Charles-styled R&B. The band played the arrangement Cocker used, but J.D. doesn't quite know where to pitch his version. The verses are pleasantly gruff, and on the chorus he starts to grimace and growl like he's fronting emo stars Fall Out Boy. It's a performance that wins over INXS. Kirk tells him he'd "pay to see that performance," and Dave calls it J.D.'s best vocal yet.

Tara performs The Police's "Message in a Bottle." She seems at sea singing it, buffeted by waves taking her this way and that, only finding her emotional center during the tune's coda, by which point it was too late. Garry notices her discomfort and asks if she really likes doing covers. Kirk thinks she looked relaxed and Andrew says she's really cool.

The show is wrapped up by Suzie. Her smoky vocals on "Get Back" turn the Beatles' galloping R&B into country soul. Warm and inviting, with a sultry funkiness, it's the kind of version you could imagine coming from someone like Beth Orton. INXS was impressed by her ease with the song, and especially, the way she let the house band stretch out on the solos. As John Lennon quipped after the Beatles performed the song on the roof of Apple Records in 1969, Suzie hopes she passed the audition.

If you want to send a message to the Rockers, continue to vote for your favorites. And make sure to watch the results show Wednesday at 9 p.m. ET/PT on CBS.