Friday night at The Basement was Andrew Combs’ EP release party, with additional performances by Rayland Baxter and Caitlin Rose. It was probably the most likeable lineup of young, local folk/country artists that has happened in Nashville for awhile, and this was reflected by the large turnout, as well as the shared sentiment of appreciation for good times, great tunes, and southern pride (cringe). But in defense of all you country folks, this was definitely some quality Americana, and the farthest thing from Toby Keith, Bob Rosenthal, or…Heehaw.

Rayland Baxter started the evening off by easing everyone’s heat-stricken nerves with several of his wistfully lovely folk songs—one in particular that was presumably called, “Don’t You Fly Away, Boy.” Baxter’s tone and the gentleness of his delivery were like Mason Jennings, combined with the sensibilities and style of Brandi Carlile, Ray LaMontagne, or even Patty Griffin. He created the perfect mood for Andrew Combs’ set that followed.

Combs offered an upbeat, classic country-inspired group of songs consisting of the 5 from his first EP, "Tennessee Time," as well as a cover or two. With my limited knowledge of old-timey and classic country, my best description would compare Combs’ voice to a less bright Gram Parsons, with the songwriting style and lyrics of Townes Van Zandt. His modern take on the tricks of all the old country legends was refreshingly authentic–especially the two honky tonk numbers, "Hummingbird," and "Wanderin’ Heart"–which had all the girls on their feet as they sang along on the simply sweet chorus, "We fly so high on the wings of lover’s words, take me home to my hummingbird." There was something special about seeing the beautiful Heidi Feek performing by his side the entire time, which was almost ironic, considering that her father, Nashville singer/songwriter, Rory Feek, now performs in a country duo with his wife as well.

Whether songs like, "Tennessee Time," and "Too Stoned to Cry," were completely autobiographical or not, they still seemed surprisingly introspective for someone so young, but that was one of the notable qualities of his performance. He believably embodied his songs and their words, despite the seeming contrast between his age and the subject matter. It wouldn’t be surprising in the least to find out that Andrew Combs really does spend his summers at the Cumberland Gap–sitting in rocking chairs, growing wiser and angstier than his country counterparts. His demeanor was also more genuine than other young Nashville folk artists–as much as the old-timers that seem to have influenced him. Proper tribute was paid with his laid-back, bluesy cover of Linda Ronstadt/Dan Penn’s tune, “Dark End of the Street.”

The throwback to the 1970’s seemed to be the ongoing theme of the evening, given the artists that Combs’ (and Caitlin Rose’s) music seemed to be most reminiscent of. For the sake of indulgence, I imagined Andrew Combs as Don Henley and Caitlin Rose as Linda Ronstadt; THAT’S the kind of authenticity we’re talking about here! Rose performed after Combs’ rousing performance–a ten song set that was one of the more polished shows she’s given. Her supporting band was a solid ensemble that will hopefully be sticking together for Rose’s upcoming tour, including Jeremy Fetzer on guitar, Jordan Caress on bass and background vocals, and Skylar Wilson on keys. The popular favorites were sung with ease, i.e. "For the Rabbits," "Sinful Wishin’ Well," and "Learning to Ride." The real kicker, however, was the ballad, "I’m Leaving" which was powerfully moving with Caress’ beautiful vocal enhancements to Rose’s already satisfying melodies, as well as the ambience created by the combined efforts of Fetzer and Wilson. Two delightful covers followed—the first being Joanna Newsom’s, "Jackrabbits," and the second being Tom Petty’s, "Need To Know," and boy oh boy did everyone really start whoopin’ it up for that one. Combs, Baxter, and Feek hopped on the stage to sing along with her, and that was the telltale sign that the show was a success, and the night would be remembered as a joyous occasion. Everyone should be encouraged to catch any/all of the artists’ future performances, as well as purchase a copy of Andrew Combs’ EP.—Erin Manning