When: Tue., April 9, 8 p.m. 2013
On the terrific new The Stand-In (ATO), young Nashville singer Caitlin Rose delivers on the promise of her first two albums, staking her claim to a modern brand of the sun-drenched country rock Linda Ronstadt used to make. Though on previous records the 25-year-old drew primarily from first-person experience, on the new one she’s turned to her imagination for her stories of the lovelorn and lonely. On the album opener, “No One to Call,” she builds an extended metaphor comparing a broken heart to a radio that never plays anything she wants to hear, and on “Pink Champagne” she imagines the sobering aftermath of an impulsive Las Vegas wedding. Rose’s lyrics still need tightening up, but her voice is in full bloom—her spunk and charisma remind me of a young Neko Case or Kelly Hogan, and she wields them with admirable restraint. She coproduced the record, employing a variety of arrangements—full-blown Dusty in Memphis-style soul (“Waitin’”), lush 50s dream-pop (“Golden Boy”), twangy 70s AM-radio country (“When I’m Gone”)—and giving them all a modern-sounding snap and energy. I have no doubt Rose can accomplish a lot more in her career, and this record makes a serious down payment on that potential. —Peter Margasak Andrew Combs opens.