Whitcomb is well on his way

Life is really good for Cameron Whitcomb both personally – which he made abundantly clear more than once during his sold-out show – and professionally.

To say that Whitcomb, who just turned 22 last week, brought the energy would be an understatement. After all, when was the last time you saw a performer do a backflip – make that two – in a concert? Cynics would doubtlessly accuse Whitcomb of grandstanding, but another prism could show that Whitcomb was just enjoying himself and the chance to entertain.

In a real, profound way, the concert was an apparent form of therapy for Whitcomb. "One year 10 months. Clean and sober," Whitcomb said at one point. He talked openly about his addiction issues more than once, sharing that the chance to perform in front of crowds like this was a huge motivation. While a lot of performers tell you have much they love you, one got the sense that Whitcomb meant it and perhaps needed it.

it also helped that the former American idol contestant (he competed in season 20) had a lot of really good songs that got personal and struck a very deep chord.

Whitcomb, who's a potpourri of country, Mumford & Sons (he sounds quite a lot like Marcus Mumford vocally at times) and rock.

Whitcomb was amped up from the moment he hit the stage to the rocking "Bad Apple." He bounced all around, crouching, gesticulating, feeling the music.

The crowd was also with him throughout through thick and thin with top shelf songs like "100 Mile High" and the ultra-catchy "Medusa."

Whitcomb changed gears during a three-song acoustic part of the show, playing the emotional "Rocking Chair." The song is penned from the perspective of an atheist what life is like for his grandfather after he passed.

What helped Whitcomb the most was that he came across as legit, not a poseur, feeling the music.

That was never more true than when playing "Flower Tattoos." He introduced it by talking about substance abuse issues back in British Columbia where he grew up and that he bumped into an acquaintance who was recovering as well, congratulating each other for seemingly overcoming their problems. Whitcomb related that the person soon made one very bad choice, relapsed and died.

Whitcomb channeled that grief into the song, pouring his heart and soul into it. At one point, he turned away from the mic facing the back of the stage, breaking into tears, overcome with emotion. He was back at the mic, clearly moved by the sadness of the song, clutching the mic with both arms, hiding his face.

This was not one of those shows where everything was rehearsed and same old same old night after night. Whitcomb, for example, engaged directly with the audience on a number of occasions: recognizing fans from Vermont; trying to engage eight-year-old Riley, who was at the very front with her mom. He praised her for coming and singing along to every word in one song, brought her up on stage where she clammed up (it may not have helped that he asked more than once what her favorite swear word was) and Whitcomb telling the crowd, "I don't know what to do."

Then there was the band breaking into Queen's "Bohemian Rhapsody" all of a sudden (it wasn't on the printed set list) before the bassist took over masterfully on lead vocals from Whitcomb. They tried to goad Whitcomb into continuing the song during the staccato piano part, but he wasn't buying in.

Whitcomb also made the night special by playing three never-before-played songs with "Problem" a particular standout. "Lose Me" and "King for a Day," played consecutively very early on, also stood up.

Whitcomb did excel at a few other covers – going from Tyler Childers' "All Your'n" during the acoustic segment to Nirvana's "Smells Like Teen Spirit" near the end of the 85-minute show.

One would think life hasn't been very good for Whitcomb. Not when he closed out the regular set with "Quitter" and "Shoot Me Dead" as the lone encore song. Both don't paint the protagonist in a very good light when it comes to relationships.

But that was hopefully a long time ago for Whitcomb. We all like a second act and redemption. With shows like this, Whitcomb is well on his way.