NORTHAMPTON – After a fortnight spent dodging snowstorms with varying degrees of success, Kathleen Edwards breezed into town for a high-energy show at the Iron Horse. Touring in support of her debut album “Failer,” Edwards sparked the capacity crowd with a full to brimming set of electric and acoustic tunes.

Back in town as a headliner after a well-received opening set last month, Edwards took control of the room immediately, kick-starting the night with “One More Song the Radio Won’t Like.” Countering this opening salvo was the more subdued “Hockey Skates,” its lines about consequence and defense perfectly capturing the feel of two lives diverging.

The wry pout of “Westby” swung the balance back towards full-throttle with its semi-seedy tale of an underage motel romp. Edwards then unveiled a new song, a textbook example of how to build a rock song out of three chords and a prolonged crescendo. Kevin McCarragher’s methodic bass provided the foundation for Colin Cripps to drape a slide guitar solo over his own looped accompaniment.

While her band took a short break, Edwards remained on stage for three solo acoustic numbers. Though all alone in the glare of the spotlight, she gained the upper hand with acerbic witticisms and slightly edgy banter with the rather vocal crowd. It’s unusual to see such a green act trade barbs with a seasoned crowd and possess the composure and confidence to keep the positive atmosphere intact. Edwards entertained the room with self-deprecating and ironic anecdotes about everything from pick-up hockey to faux Southern restaurants.

Edwards began “National Steel” alone, but was rejoined by her band in time for the first chorus. The high harmonies, contributed by lead guitarist Colin Cripps, provided the finishing touch to this gentle lament. The presence of Cripps in the touring outfit was a genuine treat, as the ex-Crash Vegas axeman bolstered Edwards’ music with his chiming multi-layered attack and several transcendent solos. The band turned “Bellevue” into a raucous jam with Cripps’ sonic palette evoking the sound of U2’s David Evans.

Edwards’ live version of “The Lone Wolf” was heavier than her studio take, and the atmospheric swell of “Mercury” featured a well-timed entrance from the band. The drive-time fans perked up for the catchy radio single “Six O’clock News” before the set closed with dual squalling guitars and Joel Anderson’s pounding drums on “Maria.” Edwards returned for a two-song encore and ended the night with a clever and smartly executed reworking of AC/DC’s “Moneytalks,” a fun finale to a well-wrought set.

Jesse Malin opened the show with several tunes from his Artemis Records release “The Fine Art of Self Destruction.” The punk rocker turned alt-troubadour showed a revealing introspection on numbers like “Solitaire” and “Almost Grown,” but lacked the full command and complete musical presentation he’s capable of without his band there to back him.