On May 2nd, Jason Isbell and the 400 Unit played an absolutely packed Mission Ballroom, filling the venue with ripping guitar and songs that cut through to the heart. There is a truth to Isbell and his music, an authenticity. His songs deal with truths etched into the bones of humanity. That windy Thursday night, he told stories that each person in that overflowing crowd could see themselves within, tales of sorrow and heartbreak, of death but also stories filled with humor and warmth, redemption and that which keeps a person going when they find themselves lost.
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Amanda Shires kicked the night off with a rather stunning set. Her five-piece band fired on all cylinders, each member making the most of their time in the spotlight, most evident during a cover of John Prine’s “Saddle in the Rain,” one of this writer’s personal favorites. But Shires truly was the star. She absolutely wails, for starters, and that powerhouse voice rained out over the crowd like a storm. Shires also played the hell out of her fiddle, tearing at it like a woman scorned, remnants of strings hanging from the instrument by the time she was done.
The crowd erupted in applause when Shires’ set came to an end, a powerful sound, nearly 4,000 people all cheering at the same time. The energy was high as old country and folk music rolled out over the speakers. Eventually, the lights dimmed yet again and Glen Cambell’s “Wichita Lineman” played louder than what had come before. The song served as Isbell’s walkout music, and the band hit the stage right as the chorus hit. Isbell wordlessly waved to the audience before launching into his set.
The set kicked off with “When We Were Close,” a rollicking, stomping southern rock tune that laid the groundwork for a mountainous set filled with soul-stirring lyrics and vocals, soaring extended solos, and somber, yet beautiful low moments. The song combined all these elements and served as a blueprint for what was to come.
It should be noted that many in the crowd were initially drawn to Isbell because of his six-year involvement with a beloved band called Drive-By Truckers, in which Isbell served as one of the main lyricists, guitarists, and singers. DBT is a searing, deep-fried southern rock band known for melding in-your-face musicianship replete with soul-burning guitar work with laconic but socially conscious lyricism that touches on topics ranging from generational trauma to drinking moonshine in the woods and much more. They are such a deep and multi-faceted band that it’s hard to truly articulate right here. Whatever you do after reading this, listen to Drive-By Truckers.
Isbell left DBT a long time ago, announcing his departure in 2007, and in that time, he has built a reputation as one of the alternative country scene’s most important proponents alongside peers such as Sturgill Simpson and Tyler Childers. He’s done this by releasing music that cuts to bone both as a solo artist and with the 400 Unit, most notably on albums such as Southbound, The Nashville Sound, and the recent Weathervanes. Each has received a considerable amount of commercial and critical attention, with awards being seemingly thrown at anything Isbell touches. These albums, as beautiful as they are, are notably more subdued than the music he made with Drive-By Truckers, so audiences tend to forget just how much Isbell can shred. And oh man, did he remind the crowd on Thursday just what he can do.
While the set started with high energy, it truly took a turn when the band came around to their third song, “King of Oklahoma,” probably the biggest hit off Weathervanes. The song has this huge chorus built to sing along to, and the band milked it for all it was worth, harnessing that massive feeling before erupting into a gigantic section that saw Isbell walk to the edge of the stage and proceed to melt the faces off of just about everyone in the vicinity. A noticeably generous performer, however, he finished his part and handed it off to the rest of the 400 Unit, each member stepping up triumphantly.
The 400 Unit is an incredible band, each member a true professional, stepping up into the spotlight when called such on songs like “Alabama Pines” and “Super 8,” and dropping off and letting Isbell shine on songs like the heartbreaking “Elephant,” (potentially one of the saddest songs ever written) and “If We Were Vampires.” The band consists of Isbell on guitar, Sadler Vaden also on guitar, Anna Butterrs on bass, Derry deBorja on keys and accordion, Chad Gamble on drums, and Will Johnson on percussion, guitar and the gong, which he was allowed to hit only once throughout the night. They played so cohesively and the show wouldn’t have been close to as incredible as it was had it not been for them.
Eventually the show began winding down as the band moved through the Weathervanes hits “Death Wish” and “Miles,” two songs that feel almost primordial, like they’ve existed since the dawn of time and are just now being channeled through Isbell. They followed these with “Cover Me Up,” one of Isbell’s solo songs. Finally, the band closed the set with the Drive-By Truckers fan favorite “Decoration Day,” which turned the crowd a tad rabid as they called out each word, relishing each syllable. As the final notes of the beloved song hung in the air, the crowd became a singing kingdom as Isbell basked in it like unassuming Southern royalty before leaving the stage.
The encore came real quick, the band returning to the stage after maybe five minutes, if that. It started with the quiet and poignant “Cast Iron Skillet,” whose notes danced through the air like dandelion seeds flowing in the gentle Tennessee wind. It came to an end and the band then launched into a surprise but delightful cover of The Cure’s “Just Like Heaven.” The crowd ate it up, and when it was done, Isbell told everyone to get home safe. The crowd then wandered out into the wind and the night, searching for truth.
All Photography Courtesy of Annie French-Mack