Following a wildly successful tour in 2017, GRAMMY award-winning Jason Isbell and The 400 will return to the road in 2018. The tour will make a stop at Rose Music Center in Huber Heights, OH on Tuesday, July 17. The show will feature support by special guest Hiss Golden Messenger.
Jason Isbell and the 400 Unit’s new album, The Nashville Sound, is a beautiful piece of American music- making, but watch yourself: it will light a fire under you. This album is a call, and the songs on it send sparks flying into a culture that’s already running so hot the needle on the temperature gauge is bouncing erratically in the red. And while it’s understandable that, in this moment, some people want their radio to help them drift away, this finely calibrated set of ten songs is aimed right between the clear eyes of people who prefer to stay present and awake. It’s a call to those who won’t cower no matter how erratically the world turns, and who aren’t afraid of what looks back when they look in the mirror. Bruce Springsteen did that. Neil Young did that. Jason Isbell does that.
As with Isbell’s 2013 breakthrough, Southeastern, and his double-Grammy-winning follow up, 2015’s Something More Than Free, The Nashville Sound was produced by Dave Cobb. Isbell says that he and Cobb created a simple litmus test for the decisions they made in the two weeks they spent at RCA Studios (which was known as “The home of the Nashville Sound” back in the ’60’s and ’70s): they only made sonic moves that their heroes from back in the day could’ve made, but simply never did. It’s a shrewd approach—an honest way to keep the wiz-bang of modern recording technology at arm’s length, while also leaving the old bag of retro rock ’n’ roll tricks un-rummaged. Lyrically, The Nashville Sound is timely. Musically, it is timeless.
It’s also worth noting that this album isn’t credited to Isbell alone. For the first time since 2011’s Here We Rest, Isbell’s band, the 400 Unit, gets title billing. “Even when I was writing, I could always hear the band’s stamp on the finished product,” Jason says. “These songs needed more collaboration on the arrangements to make them work, and I felt like the band deserved it after the way they played.” Given Cobb’s strict insistence on cutting songs live with no demos or rehearsals, you can easily imagine how the brilliantly raw performances on the record will translate to the stage when the band takes these new songs out on the road.
And boy, there’s nothing like a 400 Unit show. Not just because the band smokes, but also because Isbell’s fans are among music’s most ardent. And when the band kicks in, they are ecstatic. It’s a rock ’n’ roll show that feels like fellowship.
Which begs a question: Why do Jason’s songs strike us so deeply? What makes this music of the soul? The answer has to do with Jason’s authenticity, his intellect, his rootedness in both tradition as well as modernity. Simply put, Jason has a gift for taking big, messy human experiences and compressing them into little combustible packages made of rhythm, melody and madly efficient language. The songs are full of little hooks—it could be guitar line that catches one listener, or a quick lyric that strikes to the heart of another—and an act of transference takes place. The stories Jason tells become our own. The music is coming not from Jason and the band, but from within us.
As you listen to this record, you will hear many themes: humor, heartache, wisdom, beauty, hope. But chief among them, strangely, is leadership.
If Southeastern (2013) was the Getting Sober record (Jason has been searingly honest in both songs and interviews about the time he spent in rehab), and Something More Than Free (2015) was the New Clarity record, maybe this one, The Nashville Sound, is the Way Forward.
And who better to lead us forward than Jason Isbell? Jason is a relentless and fearless self interrogator. And this album is a challenge, a gauntlet in song: Let’s claim ownership of our biases (“White Man’s World”). Let’s embrace and celebrate the uncomfortable idea that the force that activates both life and love is death (the instant classic “If We Were Vampires”). Let’s consciously choose light over darkness (“Hope the High Road”). And for God’s sake, if you are feeling anxious, alone, disenfranchised, depressed, mad, or scared, find something that gasses you up and work at it (“Something to Love”). Jason, it seems, after years grinding the rail that separates terra firma from the brink, has put in the sweat equity it takes to hug it out with his demons and fill his life with meaning, bright and clean.