Jason Isbell is stitched together with imperfection, but boy how he heals with guitar in hand and lyrics in tow. A modest exterior shields an interior rich in ideas of creation and expression. Connection is the key. Other artists parade talent, Jason Isbell fires volleys of redemptive words, poetic phrases and blistering guitar straight to your head, heart and soul. He's the best of his kind in a subjective world. Evidence compounds with each performance.
Was it the scintillating guitar solo in the second song? Was it a trio of tear-inducing moments? Was it finding the perfect song combo? Was it a final guitar duel with the devil sitting back admiring? You could argue it was the impact of the 400 Unit: a truly great backdrop whatever the line up. The answer lies in the mind of every single person crossing the threshold of a Jason Isbell show.
"We're gonna have good night." "We've had a good night". "That was Alabama Pines". Toss in five band introductions and chat was as minimal as you get. Few artists have song material as strong as this to hold fort for an hour and three quarters. Even fewer can get away with it. Tonight was vocal not verbal. The language of rock 'n' roll sufficed.
The 400 Unit in full flow are as dominant as the 50s Yankees. Sports-mad Isbell with a love for the Braves may begrudgingly agree with this. Closer to home think Surrey cricket in the 50s and Liverpool FC in the 80s for a sports analogy. Music comparisons can be with whoever you wish. The nutshell is, whether you are hugging the front rail or sitting in the distant seats, the music and aura of this live performance has a special feel.
Grasping the brutality of the verses then heartily singing the chorus of 'Travelling Alone' hits the live music sweet spot. Was the tear-induced moment in this song one of sadness or happiness? If 'Elephant' doesn't hit you hard, then you are made of sterner stuff. The raw emotional sentiment of 'Cover Me Up' freezes the pre-encore moment to be re-lived in the aftermath. The way the band gradually builds up during the song is phenomenal.
An Isbell masterstroke was following 'Elephant' with the joyous feel-good rocking irony of 'Super 8'. Not a set list regular, but gratefully making Wolverhampton 2024. Among the lyrics and songs you sometimes forget what a great lead guitarist Jason Isbell is. The solo in second song 'King of Oklahoma' put the gig in the credit column. The seal came with Isbell and Sadler Vaden sparking off in show closer 'This Ain't It".
Vaden is a long term band member as is drummer Chad Gamble. A new member from Australia is twin bassist Anna Butterss, while the five-strong current line up is completed by multi-keys player and accordionist Derry deBorja and additional guitarist/drummer Will Johnson. Together they are the 400 Unit; a formidable unit.
Eyebrows were raised when Jason Isbell played Birmingham Symphony Hall on his last visit to the West Midlands in 2017. A less aesthetic venue was craved. The revamped Wolverhampton Civic Hall is not exactly your dirty rock 'n' roll dive, but its layout and immaculate sound did the job for this gig to thrive and deliver.
Opening for this run of European shows is SG Goodman. A Kentucky artist with a lovely tone to her southern charm and known to British audiences via a slot at the Long Road Festival earlier this year. Since November 5th, she is asking if each town visited has any vacancies. I'm sure Wolverhampton could find a place!
I recently commented that the ideal gig combines brilliance, connectivity and some sense of vulnerability. Imperfect perfection to coin a phrase. Beauty exists in both the ordinary and extraordinary. Jason Isbell exudes both. An artist that will inspire the smallest acorn inside you to write or play anything. Listening and enjoying is fine too.
