Caitlin Rose - The Stand-In
The country singer's second album is a mix of Sexsmith-style bluesiness and Nu-Nashville by numbers
Does a name get any more C&W than Caitlin Rose? It’s tempting/lazy to view any young female Tennessee-based female singer as some kind of Swiftian monster, but Rose feels more like an authentic musician than a determined fame-hunter, having already got down and dirty at the likes of Bestival and Glastonbury. Not that this by itself is proof of undiluted quality.
At best, Rose is a female Ron Sexsmith casting her country roots out to bluesier, rockier pastures in the likes of ‘Silver’ (a prospective hit if the public gets to hear it) and the pulsating ‘Menagerie’. At its weakest, The Stand-In’s songs are nu-Nashville by numbers with ‘Dallas’ (where she laments the fame game) and ‘Pink Champagne’ (where she eulogises the effects of pink champagne).
Coming from good ol' stock with a momma (Liz) having penned some hits for the aforementioned country celeb, she certainly has her head in the past and eyes on the present. Caitlin Rose is more likely to steer a steady career course rather than make headlines for poking fun at an ex during a high-profile awards ceremony.