Caitlin Rose w/ Daniel Romano & Nicolette Good
Daniel Romano, Nicolette Good
2718 N. St. Mary's
San Antonio, TX, 78212
This event is 21 and over
Exploring your emotions can make for a good song, but it's shining light on those which plague us
all that builds the backbone of the truly great ones. Coupled with tireless melodies that seep into the small
spaces between your bones; it's the kind of music that brings on little movements when life has gotten too stiff.
This is what Caitlin Rose does best. Her lyrics – visceral, illustrative, witty and wry – are pieces of stories that
examine matters of the heart through a unique lens that makes us all see a bit more clearly: from the loneliness
of relationships, to palpable dissolving human connectivity, to the loss of love with none of the melodrama. At
her core, Nashville's Rose is a storyteller and a song-crafter who is more interested in what's being produced
than how it helps her along the way.
Though much of her acclaimed debut Own Side Now was personally-inspired, what stood out most was
its ability to paint a picture and tell a near-cinematic story, from the simultaneous last puffs of both cigarette
and relationship, to the delightfully seedy characters pocketed in a coin-toss on the streets of New York City.
With her follow-up, The Stand-In, Rose seems more interested in telling tales than spilling confessionals. "It
feels more compelling to live through a song than it did having already lived it," she says, The Stand-In is a
journey down a road she's always wanted to take: the path of the story-song. One track, "Pink Champagne,"
inspired by a Joan Didion short essay, accounts for the desperate, short-lived passions of a Vegas wedding.
The emotions stem from both protagonists, but are dissected and recounted by the watchful eye of the chapel
or some honest observer from within. This collection of songs seems bent on investigating relationships from
different perspectives; male and female, young and old, left and leaving, but they all tackle the bitter farewells,
romantic misunderstandings and endless responsibilities in life. Using fibers of her fringe country roots and the
bold musical capabilities of fellow producers/co-writers, Jordan Lehning and Skylar Wilson (Justin Townes
Earle), The Stand-In seamlessly melds pedal steel guitar with restless pop beats, creating lush instrumentals
that build on the more spare construction of Own Side Now. "These songs are all based in sentiment. We wrote
the stories to convey a feeling." The result is infinitely more universal.
Rose doesn't like to categorize her music, but like the great songwriters of our time, what she creates
is beyond easy classification. While she often mentions core influences like Linda Ronstadt, Bob Dylan and
Patsy Cline, she's constantly absorbing books, movies, cultural ticks: when explaining her writing style, she
pulls a quote from famed 1930's daredevil, Karl Wallenda who said, "being on the wire is life; the rest is just
waiting." The quote is referenced in Bob Fosse's 1979 semi-autobiographical film, All That Jazz. The film
was written and directed by the famed choreographer turned director whose colorful personality and editorial
brilliance became a lead inspiration in the making of The Stand-In. In the context of the scene in which it's
used, the quote comes off as a bit of a put-on, but somehow rings true for 'slave to show-biz' character Joe
Gideon; and Rose as well for whom, all paths lead to the song. Much like Fosse, she tends to describe her
work as restrained and deliberate, something evident on Own Side Now. Though for The Stand-In, she's taken
a few leaps outside her comfort zone, making the result, as she puts it, something like a "first attempt at a high
It's fitting that Rose wrote her first song at sixteen as a substitution for a high school paper. Even as a
means to an end, she recognized the power of music, and of melody, to relay emotions and stories in the most
gripping way possible. A youthful observer, she enjoyed hanging out after school at the local Waffle House
drinking cups of coffee and quietly shaping bits of gossip into first person tales of woe.
Growing up in Nashville to music industry parents (her mother, Liz Rose, is a songwriter who found
success working with artists like Taylor Swift, Leann Womack and others), Rose inherited her mother's
"inclination towards melody –the ability to naturally know where melody could and should go" early on and
again credits her love of songwriting to a long list of influences, many of which would be easily found in either
of her parents record collections. From Hank Williams to The Rolling Stones, she says, "I've always been more
inspired by what others have done."
This is evident in her penchant for covers – two have made their way onto The Stand-In ("I Was
Cruel," by The Deep Vibration and "Dallas" by The Felice Brothers). She considers herself not just a writer,
but an interpreter of song, eager to take works she admires and expose others to their brilliance and also
reinvent them in a way that upon listening you might catch something you missed before.
"For me the intention behind any song is writing a good one," Rose says "and to create something
worthy enough to share with other people" Rose's songs, however, are way beyond worthy. They're downright
Daniel Romano is a songwriter who channels country crooning and hard luck storytelling with cinematic fidelity. While references to marquee names like Willie Nelson, Waylon Jennings and Merle Haggard are apparent in Romano's music, the obvious influences certainly don't demystify his talent. His take on the golden age of country music is much more than a revivalist mission; Romano works with equal parts authenticity and creativity, and his musical world is rich with archetypes and archrivals, wry observations and earnest confessions.
His current release, Come Cry With Me, carries on with his traditional country aesthetic, musical and visual. Self-produced and played, for the most part, by himself, Romano's new album continues with themes of bad choices, hard times, boozing and losing. Amidst the tales of woebegone orphans, family knots and broken hearts, there are spoken word yarns that recall Hank Williams-as-Luke The Drifter. Romano's deep rumbling baritone vocal dips serve, conversely, to lighten the mood, leaving no doubt that this artist knows how to deliver a punch line.