Cameron Whitcomb, the Canadian kid who found his own blend of country thanks to an introduction to Johnny Cash by his older brother, finally made his way down under last night for a run of sold out shows across Australasia, beginning with Tāmaki Makarau’s favourite venue, Powerstation.
To open the night, Wellingtonian Dani Josie and her four piece band laid down an energetic set showcasing not only her 2024 debut single Go Go Go, but some of her more recent work such as opening track Suckerpunch and Lovebomber.
Engaging with the audience Josie made an impression with sense of humour and stage presence, her cover of the Crowded House classic Don’t Dream it’s Over a nice touch, especially during New Zealand Music Month. A timely reminder that Aotearoa is home to a plethora of incredibly talented musicians that deserve support and recognition every month of the year.
Dani began writing at age eleven, and while in her youth she was influenced by Taylor Swift, her pop punk style now leans more into her favourite artists such as Olivia Rodrigo and Avril Lavigne, her early goals with song writing to incorporate messages that she has learnt from both good and bad situations in her life.
To say that the anticipation was almost palpable would be an understatement, fans of Whitcomb counting down the seconds til his arrival. With a huge backdrop spelling out his name in white there was certainly no mistaking whose show you were attending. The drum kit was set on a riser in the centre, and it was a particularly nice touch that a large cloth was draped underneath it which then flowed over the riser – upon closer inspection it was noted to be the cover art of his debut album The Hard Way released last year.
And as potentially a homage to the music of yesteryear or maybe even his own grandfather who he would later perform a song about, several Stairville vintage bowl lights were placed around the stage.
The fanfare was almost deafening when Whitcomb ran out in a simple white t-shirt and blue jeans, his three piece band quickly taking their spots as they launched into Hundred Mile High, the audience quickly joining in on the chorus. “Are you ready for the best night of your lives?” Whitcomb asked the fans, their emphatic whoops and cheers certainly indicating they were.
Whitcomb and co then proceeded to smash out several hits in a row, including Pretty Little, the massively popular Shoot Me Dead released in 2023 which Whitcomb donned a guitar to play and Bad Apple which the band soon had the audience clapping along to.
Problem saw a more gospel infused element come through, his admiration of Tyler Childers work no doubt influencing Whitcomb’s personal style of fusion where country, folk, pop and even a touch of punk meld together with his confessional style lyrics to produce something that while not groundbreaking is still very much uniquely him and therefore makes him a rather endearing performer live.
Thanking the audience for allowing him to visit their ‘beautiful country’ expressing that it had been a ‘long time coming’ he asked those present with a loved one to hold them tight as he played You and Me a song he wrote for the lady in his life, which was soon followed by a rather sweet cover of Childers All Your’n.
Following Gasoline & Matches, Whitcomb enquired if everyone was enjoying the new EP entitled Deep Water from which he played the title track; soon after some audience members started demanding to hear Medusa which Whitcomb quickly dismissed with a laugh asking, ‘halfway through the set?’ with his accent that couldn’t help but make you smile.
More voices piped up ‘What is this a Q&A session?’ Whitcomb laughed again, his good natured humour allowing one fan to actually sneak a question in; asking Whitcomb what his favourite song was that he ever wrote, some fans may have been surprised by his answer of Polly.
My Expense led into an impressive drum solo by Chad Melchert, and Whitcomb removing his t-shirt to show off some rather extensive tattoo work much to the delight of many of the attendees. Love Myself is a likeable and very catchy anthem that had the audience collectively raising their voices to the rooftop, Whitcomb once again declaring his love for them all upon the song’s conclusion before advising everyone that he was about to sweat through his pants and that that was not to be mistaken with shitting his pants.
Kiwi audiences love a good story – so they cheered, which prompted Whitcomb to explain that he had only ever soiled his pants once on stage in Calgary, Alberta. Cheers once again rang out, Whitcomb puzzled as to whether the cheers were for Calgary or for the unfortunate incident with his pants. Either way he seemed highly amused with the response.
It is easy to see why Whitcomb is selling out shows across this tour, there is an untamed wildness to his performances that simultaneously has an underlying thread of innocence to it; his emotive style of singing bringing life to his words in a way that speaks of truth, and pain as well as joy and a yearning for better days.
Having confessed to struggling with addiction issues from the age of twelve, Whitcomb’s declaration later in the night that he had been sober for two years and eleven months was celebrated wholeheartedly by everyone in the room. Whitcomb then proceeded to speak of how it is his fans who keep him sober, who keep him moving forward. Wiping a few stray tears from his eyes it did not feel performative, more gratitude from a young man that had found success doing what he loves.
Beautiful acoustic versions of Rocking Chair – about his grandfather – and Call For You is where Whitcomb really shines, his voice well rounded with a power to punch through when required, which is clearly demonstrated during End of the Morning, which builds to a crescendo that is rather uplifting.
The only weak point of the night was his cover of Radiohead’s Creep, an epic song, a timeless classic even and one that undoubtedly would have been an inspiration to Whitcomb throughout his life as it has been to many. However it is also one of those songs that should be admired and not necessarily covered, Whitcomb’s vocal style and delivery of it missing the mark.
Closing his set with Options and Quitter it was clear that there would be an encore, but those in attendance last night revelled in the chance to stomp their feet and chant ‘One more song’ with gusto; the lighting and sound techs only adding to the fervour as the lights flashed and a rumbling bass poured from the speakers.
A stonking version of Medusa took out the night, Whitcomb performing a backflip off the drum riser before jumping into the photo pit to high five as many of the front row as he could before exiting as his band finished it off in style.
Whitcomb is an artist who certainly gives it his absolute all on stage, and frankly who could ask for much more than that?
Sarah Kidd
Photography by Leonie Moreland
Cameron Whitcomb
Dani Josie
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