Nashville 25-year-old Caitlin Rose's 2010 debut, Own Side Now, won deserved plaudits, but this second effort really ups her game. With pedal steel, Wurlitzer organ, slide guitars and strings, The Stand-In pitches somewhere between country titans such as Tammy Wynette or Loretta Lynn and the country-flavoured FM pop of Rumours-era Fleetwood Mac. A smidgeon of Rose's old spikiness is sacrificed, but it's easily a fair swap for songs bulging with terrific hooks and killer choruses, all of which belie some melancholy content. The Lucinda Williamsesque No One to Call finds her playing records because there's nobody to phone, and she gazes wistfully from a window in Pink Champagne. But tales of heartbreaks and love's unkindness are delivered in a voice – midway between confident and coy – that's to die for, and which makes them sound uplifting. Any of half a dozen tracks could make potential singles, although the honey-dripping Golden Boy and Only a Clown – a real car-radio-on, window-open singalong – are perhaps most likely to lead to career lift-off.