Caitlin Rose at Whelan's

Caitlin Rose at Whelan’s on September 8th 2013

The night is aptly, succinctly summed up by Caitlin Rose herself towards the end of her set in Whelan’s; “wonderful and sweaty …the title of my memoirs.” Indeed, it’s both of these things, alternating between one and the other. Rose recently released her second album, ‘The Stand-In’, an altogether more assured and swaggering animal than her debut. Where that first record showcased her rich vocal in a more restrained setting, this incarnation of Rose sees her settle into the folds of a tight band unit. It’s a dynamic that turns the main room into one big house party for the duration, as Rose and her colleagues stir up not only some top drawer tunes, but some good ol’ fashioned shits’n’giggles.

Andrew Combs is first out, alone with acoustic, squinting against the spotlights. He offers a howdy by way of introduction, and a Townes Van Zandt impression is apparent, first in image, then in songwriting style. He whistles through some of Other Side Of The Blues, before a fine Please, Please, Please. Rose’s pedal steel player Spencer Cullum comes out to add some wistful embellishment to Suwannee County, and Combs’ vocal and guitar and Cullum’s whine all merge into one for the final strains. His muted strumming gives Tennessee Time its percussive beat, before he changes things up as Rose’s band come on to accompany him for the latter stage of his set. The contrast is immediate as the bass and drums boom out on Worried Man, and they race for the finish with Emily. The full band treatment seems more an exercise in fun-on-tour; Combs’ skill lies in the unadorned song, where the elements of his writing come to the fore.

Rose and the band arrive onstage with handfuls of beer – “Last night’s venue didn’t have any BOOZE in it…who does that!?” – and get straight into it with No One To Call. By the end of the country shuffle of Spare Me a certain rowdiness has infiltrated the crowd, and folk are feeling the heat onstage and off. All this sweat and humidity is good for the vocals though -“if this is a good show it’s because of your armpits” – and Waitin’ is both forceful and playful, with Rose bopping around on tambourine. For The Rabbits takes a gentler tack with unheard backing vocals from Combs, who joins the band for the set.

Pink Champagne is introduced, and the band begin the song – well, most of them. The drummer plays a different one, before being gently reminded of the tempo after a mildly successful, humorous cover-up operation by Rose. Old Numbers swings along at a fine pace, the show becoming more boisterous as it goes on. The singer is in a jovial mood, doing impressions of Scarlett from the ‘Nashville’ TV show and generally just rambling on about whatever the night throws up. No audience will ever tire of being told they’re great, and we get the spiel in spades – “Sláinte!” banter; a Nashville/Dublin comparison; a request not to tell “the Twitter” that this is her favourite night of the tour.

It’s when the band leaves her alone for Sinful Wishing Well that the depth of her vocal shines through. Combs re-appears – “in case you missed his set like a jerk” – and the pair share a mic for his Too Stoned To Cry. A self-professed lover of covers, they pepper Rose’s set, and what the crowd lack in recognition of Jim Croce’s name they make up for in appreciation for his One Less Set Of Footsteps. Another cover kicks off the encore, after an airing of a grievance – The National play Tennessee this very night, and what Rose lacks in attendance she makes up for in tribute as we hear the first airing of their cover of Pink Rabbits.

Shanghai Cigarettes is a stomping end to the night, but the crowd aren’t moving, and an appreciative Rose returns with a tambourine for an acapella rendering of T-Shirt. It’s a sweet, heartfelt love song, and there’s nothing really left to say once it’s finished except “Thank you for not burping or farting during that song.” Tonight’s show is a compendium of sorts; from full-on rockin’ country to stripped back roots, from cabaret to backroom lock-in, this is a free-flowing, entertaining and fun night from Rose and Co. One and all seem to be having a good time onstage and share an easy rapport, a simple phenomenon that makes a good gig into a great gig. This is one of those gigs.