Nearly thirty years and almost 15 albums into a career he likely never expected, Nashville-based singer-songwriter Josh Rouse is still an artist very much worth seeing. That was most evident at his double-booking at Orlando’s Judson’s Live this past Sunday. During the two distinct sets he played a total of 28 originals (only one was played twice) and three cover songs, and an armful of stories.

Foremost of those stories was the caveat that he doesn’t often play on Sundays and very rarely does two bills back to back. In spite of that, Rouse was in top-tier form. Armed with just his guitar, a harmonica, his endearing wit and those inimitable songs, it was an evening that reinforced the power of Rouse as a songwriter as well as the breadth of his discography.

Though the gig itself was not billed as a preview show, in very much ways it served as just that. Rouse will release his fifteenth studio album this fall and the two distinct sets saw four of those songs make their way into the set, including one live debut. Attempting to steer clear of his self-described “sad Dad songs” the album actually appears ebullient and hopeful. Whether it was the sprite and airy “Spring”, the vernal “Sunday in the Country” or the confident and charming “Things are Looking Up” the album appears to be another step forward for an artist who makes few, if any, mistakes.

Ever the entertainer Rouse also welcomed requests, so much so that when he played “Love Vibration” during the late show he said: “I played it already in the first show, but I don’t mind playing it again, I’m more than happy to do so.” He also accommodated a request for the rarely played fan favorite “Michigan” and the early 2000s sleeper hit “Directions.” But requests do have a limit. A fan requesting “The White Trash Period of My Life” from his 1998 debut Dressed Up Like Nebraska was omitted because: “I honestly forgot how to play it.”

In a moment of true honesty Rouse revealed the staggering statistic that 100,000 new songs are released to Spotify every day and admitted: “I don’t know how I keep up, but I’ll try.” Later during the second set he noted that all of his albums are free. Those candid moments of reflection prove that Rouse is aware the music landscape has changed and that his most commerical albums might just be behind him.

Whether Rouse’s new album reaches the halcyon heights of prior albums 1972 or Subtitulo remains to be seen. For now he seems supremely comfortable and self-assured at this juncture in his life. And for that we should be most grateful.

Those reading this blog who are eager to see him, should note he heads to Europe in July. He returns to America, and most specifically, the Midwest on Aug. 28.