When Southern rock and folk artist Jason Isbell spoke to The Fix in January of 2016, he had already been dubbed – on the back of 2015 album Something More Than Free – “arguably the most revered roots-rock singer-songwriter of his generation” by Rolling Stone Magazine. It was quite the coup for our little website to ensnare an interview with a musician held in such high esteemed. These, however, are different days. In the near nine years since, Isbell is an established force in American music, acquiring six Grammy Awards, and an attendant notoriety that has gleaned a fledgling acting career which, this year, culminated in a role in Martin Scorsese epic ‘Killers of the Flower Moon.’
After the purely solo ventures of back-to-back albums in the 2010s, Isbell’s last four records have been alongside his trusty 400 Unit collective of musicians. Tonight’s opener ‘Save The World’ is intro-ed by Isbell’s crisp, chiming guitar and a country rock salvo of three guitars, keys, bass and drums, and resolves itself in a Thin Lizzy-esque dual solo between Isbell and guitarist Sadler Vaden. In fact, tonight is an ample showcase for guitar enthusiasts; following number ‘King of Oklahoma’ has Isbell fully evoking his former status as lead guitarist in Drive By Truckers with two solos and a lengthy jam that seems a tad grandiose a mere two songs in.
“We’re gonna have fun tonight, I can tell”, Isbell declares before joking that the accordion – now being sported by usual keys man Derry deBorja – is something that makes him both “hungry and horny at the same time.” ‘Strawberry Woman’ follows, and it’s an attractive marrying of Isbell’s acoustic guitar, Anna Butters’ double bass and Vaden’s weeping slide guitar. As Vaden is introduced by Isbell to tonight’s audience, wherein he amusingly doffs an invisible cap, it feels like he’s in danger of taking over the show; he performs more brilliantly crying reverb in ‘Last of my Kind.’
Tonight’s set sees a nice balance between Isbell’s two main modes of operation – the mid-tempo southern rocker and pretty acoustic ballads carrying weighty lyrical baggage. An example of the former is ‘When We Were Close’, its staccato chord rhythms sounding a little like The Darkness’ ‘I Believe in a Thing Called Love.’ This is followed by an example of the former in ‘Live Oak’; a moody, lyrically dark slice of storytelling folk. Isbell’s acoustic guitar is coloured by subtle keyboards and guitar embellishments and, ending in a sea of crashing cymbals, is received with large applause.
‘Alabama Pines’, the opening track from Isbell’s second album-length collaboration with the 400 Unit in 2011, is a fine, galloping piece of melody wherein he yearns for his home state (“Somebody Take Me Home/Through those Alabama Pines”). ‘Super 8’, meanwhile, initially sounds like AC/DC-esque rock n roll and – though he probably wouldn’t appreciate the comparison – its verses have a melodic redolence of Billy Ray Cyrus’ ‘Achy Breaky Heart.’ As Isbell sings “If I ever make it back to Bristol, I’m better off sleeping in the country jail”, it should be noted that, rather than a somewhat cheesy pandering to the audience, this is the original lyric and an allusion to Bristol, Tennessee.
‘Middle of the Morning’ is perhaps the standout of the songs we hear from most recent album, 2023’s Weathervanes. A beautifully clean and sprightly guitar riff is formed around an enticingly relaxed groove, measured by drummer Chad Gamble’s rim-shots, and Isbell’s voice stretches itself for the song’s myriad big vocal moments. ‘If We Were Vampires’ – one of the Grammy winners – is another standout, and perhaps the highlight of Isbell’s career. The song’s poignant theme that love is so special due to it being in the context of a finite existence is wonderfully carried in a pretty duel of picked acoustic guitars.
‘Cover Me Up’ is another song inspired by Isbell’s relationship with singer-songwriter Amanda Shires, his wife of 11 years until they sadly divorced this year. The opening track from Isbell’s first album recorded post rehab (2013’s Southeastern), it is beautifully themed around Shires’ significant role in Isbell’s life changing transition to sobriety. Tonight’s audience sends forth a large cheer as Isbell delivers the line “I sobered up, I swore off that stuff/Forever this time.”
Considering Isbell’s talent in being able to channel the real and the heartfelt into widely loved songwriting, one wonders if his divorce might produce the sliver-lining of equally poignant work ahead. In the meantime, Isbell – and the excellent musicians that comprise his 400 Unit – can be reassured by the love in Beacon Hall, as a three song encore conclues with huge applause and a partial standing ovation from those in the tiered seating.
Scott Hammond
