This show was at the Orpheum in Memphis, Tennessee. It had been almost three years since Isbell played Memphis, at the botanical gardens with the 400 Unit, and I was there for that one too. Since I didn’t have the blog yet, I’ll share a little about it. I broke my foot that week, so I was stuck in a lawn chair when my heart ached to be in the pit. It was still special. It was the first time I saw the band with Anna Butterss and Will Johnson, and I heard “King of Oklahoma” live for the first time. Jason also announced to the crowd that he had received a real degree, not honorary, from the University of Memphis, and the joy on his face that night is one of my favorite show memories. That show was also the first Isbell show I got to take my mom to. We used to go to concerts together all through my teenage years, but once I started college and she started law school, those trips became rare. This 2026 Memphis show was her third time seeing Isbell, but her first time seeing him solo, which made it special before it even started.

The Orpheum is truly the perfect venue for a solo Isbell show. It’s ornate and beautiful, with elegant chandeliers and fixtures throughout. It reminded me aesthetically of the Fox Theater in Atlanta. It’s also in a great location in the heart of downtown Memphis on Beale Street, so when you visit, you are fully immersed in the musical nightlife of the city.

The show kicked off with “Dreamsicle” and it did not take even five minutes before the vibes got very sad, in true Isbell fashion, with “White Beretta.” That song is one of the most emotionally potent in his catalog, and hearing it stripped down acoustically makes it cut even deeper. It does mention Memphis, which led to an eruption of woos from the crowd. Isbell doesn’t leave you in tears for long, because as soon as he finished he launched into the story of when he drove a white Beretta with no AC from Memphis to Alabama in July with the windows down and the heat cranked up, and how a friend spilled beans in that car and he’s pretty sure those beans are still dried up in there. These storytelling sessions are what make the solo shows stand out. When you see the band you get some funny banter, but in these solo shows the stories feel like companions to the songs. I don’t want to get too into detail because you really need to hear Jason tell them, but they make me crack up every time.

Coming into this show, the two songs I most wanted to hear were “Live Oak” and “Dress Blues.” I’ve heard “Live Oak” a couple of times, and although the song is bleak, the way he delivers the vocals always soothes me. It’s become a weird comfort song. It starts a cappella, and being in a solo setting where there’s a moment of complete stillness before you hear “there’s a man who walks beside me who I used to be” will never not send chills down my spine. Beautifully haunting.

“Dress Blues” is a song I had never heard live before. It’s special to me because it was one of the first Isbell songs I really loved. The first album of his I heard was Live from Alabama, and I remember being so moved by that song. I have processing challenges, and it is genuinely difficult for me to figure out the meaning of a song no matter how many times I listen. But the way Isbell writes works for my brain. “Dress Blues” is so descriptive and visual that I can picture a movie while I listen, and it was one of the first times I could truly process a song without Googling it. It hits even harder now given the current political climate, and as much as it’s devastating that a song like that is still relevant, there’s something cathartic about revisiting it. He followed it with “Tour of Duty,” which is from a different album but thematically pairs perfectly, and that back to back was a definite highlight. Another standout was “Chaos and Clothes” and “King of Oklahoma” played back to back, two of my absolute favorites. And vocally, the moment of the night was his cover of Bon Iver’s “Beth/Rest” in the encore. It is probably one of the most impressive and chilling vocal performances Isbell delivers and it is always a treat to hear.

Overall this was a very well-rounded set. Five songs from Foxes in the Snow, two DBT songs, and several that rarely make the rotation. The one downside was the crowd. Despite the no-phones policy, people were recording all night, shouting requests, and generally not reading the room for a quiet acoustic show in a historic theater. Isbell even joked that if you yell a song, he won’t play it. It was still a special night regardless.

Now for the part I really want to talk about.

I started seeing Isbell in 2022, and in four years I have been to 16 shows. For the last year, I have always had an Isbell show on the calendar, and words can’t explain how important that is for me. I am a PhD student, so naturally I experience a lot of stress. Change isn’t easy for me to process, and adapting to a new city while also adjusting to the intensity of doctoral work is difficult, even though I love what I’m studying. I remember standing at the Pinnacle shows last March telling everyone around me that since I was starting my PhD, I probably wouldn’t be able to go to many shows for a while. Thank god I was wrong about that.

What I realized in my first semester is that I need to carve out things in my life that let me decompress. I live apart from my family, most of my friends are out of state, and socializing is unpredictable with my schedule. But picking out shows I know I can attend, and carving out that time to take a weekend off, go somewhere new, see people I love, and listen to my favorite songs has been one of the most genuinely beneficial things for my mental health.

Jason’s music has been the soundtrack to my life for the last five years. His voice has this effect on me where as soon as I hear it, I feel at peace. Sometimes I’ll be deep in the writing trenches, feeling pretty low, and I don’t even want to listen to music, but then I’ll turn Jason on and within a minute it feels like a weighted blanket. The other day I was feeling really sad and I put on a video of him performing and I started laughing at myself because I calmed down the same way a baby calms down when they hear The Happy Song. I don’t fully know what it is about his music that can quiet my chaotic brain so quickly, but I am so glad I have it. A lot of that has to do with the fact that I’m autistic, and Isbell has been my special interest for years. His songwriting works for my brain in a way that most music doesn’t. I can process it, visualize it, live inside it. And when something becomes that embedded in how you regulate, hearing it live isn’t just a concert, it’s something closer to medicine.

Often at the end of a show I get overwhelmed with emotion because I am so grateful that this music exists, that I can go to these shows, and that for one night everything in the outside world goes quiet and it’s just me and the songs.

This show reminded me of that more than most, because my mom was there. I got her into Isbell’s music and it has become something we genuinely bond over. She introduced me to so many artists growing up, so there’s something really special about being able to introduce her to something that means this much to me. Her favorite song is “If We Were Vampires.” When he played it, she held my hand and we sobbed together. She looked at me and said she had been thinking about how she won’t be here for my entire life, and we both completely fell apart.

Moments like that remind me why I keep coming back. Why I can hear the same songs over and over and still feel something new every time. Because they aren’t just songs. They are stories, they are memories, they bring regulation, and they create space to feel things that are hard to feel anywhere else. I am so grateful to live in a world with artists like Jason Isbell, and for music that adds that kind of meaning to life.

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Photo Credit: Wingate Downs

It’s that time again! I just saw Jason Isbell this past weekend, so I am back to keep my tradition of giving my post-show report. This was my 15th time seeing Isbell and my 4th write-up. You would think at this point I would have run out of things to say, and maybe it’s a bit silly to review and debrief someone I have seen so many times. Yet each time I see him, it feels like I have a new perspective and a post-show inspiration that I only experience after I see Isbell, so the tradition lives on.

On January 17th, Jason Isbell took the stage at the Classic Center Theater in Athens, GA. This is a part of his solo run that he is embarking on throughout the year. When you see Isbell with the 400 Unit, you are in for a big ole rock show with face-melting guitars, thumping bass, keys and accordion, two drummers, and a gong. Jason solo shows may not be loud and rockin, but they sure are special. It’s two hours of songs and stories. Another standout of the solo shows compared to the band ones is that he changes up the set a bit more, and there are songs in the solo set rotation that aren’t frequently played by the band.

The show started off strong and sad right off the bat with “Children of Children,” a heart-wrenching track about Isbell’s reflections on growing up with teen parents. That song is even more chilling when it is just the vocals and the guitar. With this style of performance, I feel like I lock in to the lyrics and feel fully immersed in these stories. He kept it thematic and went into “Dreamsicle,” another track about his childhood and his parents. These songs were released five years apart, and hearing them back-to-back added an emotional impact. Another neat element of this intimate performance was how the light’s reflection on Jason caused a beautiful silhouette shadow of him on the chair with the guitar. Throughout the performance, I watched the shadow move, and it felt like a musical meditation. I would have taken a picture, but these shows have a no-phones policy. The eliminated distraction of the phone made me soak up the show more as well.

Before the show, my friends and I made a little list of songs we hoped to hear that night, and one of the top spots was “Songs She Sang in the Shower.” He played it right at the beginning of the set, and we appropriately all lost our minds. I had only heard that song live once, at the 10th anniversary show of Southeastern, where they played the entire album in order. It has one of my favorite guitar lines and sounds so heavenly on an acoustic. Seven songs in, we got a song that many fans, including myself, have been chasing for years, “Streetlights” from the 400 Unit’s self-titled record. It is one of the most beloved songs in his catalog. As soon as it started, my friend Anna and I stared at each other and squealed quietly in excitement. One of the most thrilling concert experiences is hearing the first note of a song you’ve been dreaming to hear. It’s also not a solo show without a little story time from Jason, and we got some great tales.

After “Streetlights,” he told a story about going out in Athens and forgetting where he parked his car, because the night prior he had parked it blocks away. In a panic, he called the police, just for them to find the car in three minutes. He told another funny story about being arrested after another night out in Sheffield, Alabama, when he was recording American Aquarium’s Burn. Flicker. Die., and BJ Barham had to bail him out. While many of his songs are somber and serious, the stories he tells are so ridiculous that they bring a perfect balance from tears to laughter.

A stand-out of the night was when he did two covers, “Storm Windows” by John Prine and “Sunshine” by Todd Snider. It was my first time hearing Isbell play each of those songs, and they were very moving tributes to two musicians and friends of Isbell that he really respects. He even did the whistling parts in “Sunshine,” and it was a real treat. After “Storm Windows,” he played another deep cut I had not heard live, “Cigarettes and Wine.” He said that was Prine’s favorite song of his and that he would have loved to cover it, but he couldn’t pronounce “Gethsemane Street.” Right after that, he played the song at the very top of my wish-to-hear list, “Chaos and Clothes.” Anna and I lost our minds and cuddled each other throughout the entire song while whisper singing the lyrics. As some of you know, I have autism, and I often use Isbell’s music as a way to regulate. When I am at my worst and need to calm down, the first song I go to is “Chaos and Clothes.” The guitar melody mixed with his soft vocals always leaves me feeling centered and at peace, so hearing it live was incredibly healing.

It is such a nice feeling to see an artist as often as I see Jason and leave each time feeling like the show was better than the last. Although I may hear many of the same songs over and over, they don’t get old. With every show, I hear one or two songs I have never heard live before or songs I haven’t heard played in a while. After I leave a Jason show, I feel like my soul went through a factory reset and experience post-show euphoria. The day after the show, I drove over five hours back to Tuscaloosa. Instead of feeling tired and sad to leave my friends, my heart felt full. I reflected on how lucky I am to go to a new city, meet up with my musical community, and see my favorite artist. There is no feeling in the world that compares, and that is why I will keep doing these write-ups as a way to archive all the shows and their memories. Next up: Drive-By Truckers’ HeAthens Homecoming! Then Isbell again in March!

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Hey y’all, hope everyone had a great holiday season. It has been a minute since I did one of these subscriber updates. December was a crazy month. I officially completed my first semester of my PhD program in communications and media effects at UA. I submitted one 18 page group quantitative analysis, one 20 page theory paper, and an in class presentation. I was completely exhausted afterward, and unfortunately academic burnout caused a slight pause on Undefined for a few weeks. After some much needed downtime with my family and pets, I am back and excited to fill y’all in on what’s been going on.

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On Saturday, December 13th in Huntsville, Alabama, I attended two solo acoustic sets from Drive-By Truckers co-founder Patterson Hood at the intimate Tangled String Studios. I am a massive DBT fan; however, I have only seen the band twice before, and those were full-band shows. Every year in December, both Patterson Hood and Mike Cooley go on their own respective solo acoustic runs. It has been a yearly tradition for many of my friends to attend these shows, and I am so grateful that I was finally able to join in on the fun.

This show was set up differently than other dates on Patterson’s run because he played an early set at 6:30 p.m. and a late set at 8:30 p.m. During the show, he mentioned that he does not typically play two-set nights anymore. Unfortunately, Tangled String Studios is set to close this year, and he shared how much he loved this venue and wanted to play there twice before it closed. I came into this show not knowing what to expect. I am used to seeing Patterson surrounded by his bandmates, bringing all the intensity of a rock show. I was excited to see how he would command such a small room with just his songs, and he did not disappoint.

Both sets began with him greeting the crowd before kicking things off with “The Forks of Cypress” from his new album Exploding Trees and Airplane Screams. The song is based on a real place in Florence, Alabama, and he shared a story about visiting the Forks of Cypress while growing up and how creepy it felt to him at the time and the myths that surround that place. Both sets felt like a perfect companion to the new record, which Hood describes as an album that tells the story of the first 30 years of his life, beginning backward at his 30th birthday and ending in his childhood. The sets also featured a handful of songs from Exploding Trees alongside DBT classics. Every song he chose matched the deeply personal tone of the new record, and hearing the stories behind them made the performances even more special. One standout story song was “The Sands of Iwo Jima,” which is about his great uncle George A., who helped raise him. He shared several stories about George A. throughout the night. I had heard “The Sands of Iwo Jima” before, but hearing it paired with those stories, while watching him perform it just feet away in such a small room, was incredibly moving.

Another standout moment came before “Pinocchio,” when Hood talked about becoming a parent and learning things about his children that helped him better understand his own childhood. He spoke about learning more about ADHD, Sensory Processing Disorder, and autism, and how that knowledge helped explain how he functioned as a child. He shared that he often became deeply fixated on things while growing up. One of the first things he became obsessed with at age three was The Beatles, and he remembered watching Magical Mystery Tour and being completely obsessed. That story hit home for me, as I had a very similar experience as a child with The Beatles.

He then talked about how his favorite movie was Disney’s Pinocchio. After seeing a trailer for its re-release, he knew he wanted to see it again, so George A. took him to the theater repeatedly. He even acted the movie out for the neighborhood kids, who were not impressed. As a fellow weird kid who also rewatched the same movie countless times and recited it word for word, I felt deeply connected to this story. As someone who was once afraid to open up about their neurodivergence, it meant a lot to see Patterson speak so openly about his own experiences, and I found that to incredibly brave of him.

I really admire how open Patterson is when it comes to storytelling. He trusts his audience and shares vulnerable moments from his life in such an earnest and relatable way. Many of these songs already contain rich narratives in their lyrics, but the stories he tells before performing them make them feel even more intimate.

Another highlight of the night was seeing how much fun he was clearly having. It did not feel like he was repeating stories he had told in another town the night before. Instead, the performance felt more like a house show, and the atmosphere of Tangled String Studios only amplified that feeling. The venue was cozy and even had a couch in the middle of the room, which added to the living room vibe. The room was so quiet, and everyone seemed completely drawn into his playing.

He smiled often and dedicated songs to friends in the crowd, including dedicating “Heathens” to my friends Missy and Ricky during both sets, which was incredibly sweet. When he played rockers like “Lookout Mountain” and “Ronnie and Neil,” the way he attacked his acoustic guitar reminded me of how he jams on electric, and it sounded incredible. The setlists were thoughtfully balanced, and he played many of my favorites, including “My Sweet Annette,” “Van Pelt Parties,” “Sinkhole,” “Tornadoes,” and “Bulldozers and Dirt.”

To top it all off, he ended the night in a way I was not expecting by breaking out a cover of “867-5309/Jenny” which quickly turned into a crowd sing-along. Afterward, we gathered near the stage as he smiled and waved. He handed me his setlist, then went around greeting everyone, signing posters, and taking pictures.

Overall, this was such a special night. This show was very different from a full-band Drive-By Truckers performance. We traded headbanging and loud riffs for a cozy, story-driven atmosphere that added new emotional weight and meaning to songs I have heard countless times. I am so grateful for Patterson, his music, and the incredible fan community that surrounds DBT. It also made me even more excited to experience my first HeAthens Homecoming in February!

For me, the most wonderful time of the year is mid October when Jason Isbell and the 400 Unit set up camp at the Ryman for their annual two weekend residencies. This year was my third time attending one of these shows and it also marked the tenth anniversary of Jason’s residencies. If you are new here, pretty much every time I go see Isbell I hop on here to recap it. My first Ryman show was in 2023 and it was one of the most special concerts ever because they surprised us by playing Southeastern front to back. Last year I went on opening night and he covered Losing My Religion by R.E.M.

What makes the Ryman run so different from an average JI400U show is that superfans from all over fly in and you often hear songs that are not usually in the band’s rotation. They also tend to do fun covers you will only ever get at the Ryman. Jason and most of the band live in Nashville, so it feels like a homecoming for them, and the Ryman is such a big part of their story. It is also one of my favorite places to see a show. The history in that room is unreal and it truly feels like going to church, especially when Jason is playing.

This year felt special because I got to bring my friend Courtney, who some of you know as the admin for the Drive By Truckers group and one of the admins for the Jason Isbell Facebook group. She is from Georgia and usually sees the band there or in Alabama, so this was her first Ryman show. Getting to take her meant a lot to me and we also rode to Robert’s before the show and that was fun. This was also my first time going on the second weekend, and if you know the Ryman runs, the later the weekend the crazier the setlist and the bigger the chance you will hear some deepcuts.

Before we get into the 400 Unit, I want to talk about the openers. This year was different from past residencies because instead of touring acts they teamed up with public schools and music programs across the Southeast to showcase students and educators who are shaping the next generation of live music. Our openers were the Nashville School of the Arts and they were so fun to watch. Several students took turns singing songs they wrote and they were complete naturals. The crowd was pretty packed for them and it made me really happy to see these kids get a core memory playing to a full Ryman audience. I know they will cherish it forever.

To set the scene for the main set, we were in the middle balcony. This was my first time sitting up there since I had always sat in the downstairs pews. The lower level is a gamble because even though you are closer, a pole can completely block your view. I actually preferred the balcony and might go back there next year unless we somehow score the first few rows.

One thing that really stood out was that no one that we could see in the balcony was standing or dancing. If you know me, you know once Jason comes out I am usually on my feet jamming the entire time, but I did not want to block anyone’s view so I stayed seated the whole night. Courtney is used to being on the front row, so it was new for both of us. It was so hard to stay still because the opening trio of songs was probably the best three song opener at any Isbell show I have been to. He started with my number one favorite song ever, King of Oklahoma, then went right into 24 Frames and Decoration Day. I kept turning to Courtney with my jaw dropped. I knew right then we were in for something special.

After that we got two songs from Reunions. Only Children, which I had been hoping for because it had been awhile, and Overseas, which has become a setlist staple and is always so fun to watch as Jason and Sadler tear into that guitar solo. Another standout was Tupelo from The Nashville Sound. My family lives about forty minutes from Tupelo so that one always makes me smile and I adore his vocals on it. We also got Relatively Easy, which I had only heard once during the Southeastern show, and the Drive By Truckers classic, Danko/Manuel, which was my first time hearing it with the full band. It was incredible.

After they finished Danko, Jason joked that the song was about Will Johnson and actually all the songs were about Will, which made me laugh. It is extra funny because he does have a song about Will and his band Centro matic called To A Band That I Loved, but they have never played it live.

The deep cut gem of the night was The Magician from Jason’s first solo record Sirens of the Ditch released in 2007. It was their first time playing it since 2018 and Jason’s matured vocals plus Will Johnson and Anna Butterss performing it for the first time gave it a fresh feel. Jason joked that it was his first time playing that song without a headache because it was heavy in the set rotation before he got sober.

The best moment of the night came during the encore when Jason announced it was special treat time. For the first time ever, drummer Chad Gamble took the mic and sang lead vocals as they covered Remedy by The Band. If you are used to only seeing Chad behind the kit, it might shock you to hear how good of a singer he is. He used to sing in The Gamble Brothers Band with his brother Al and wow he has pipes. The crowd erupted when he finished. It was also funny and sweet to see Jason not sing and just play guitar for once. Chad has real star power and I would love to see him sing again.

In case you are wondering why they covered Remedy, during these Ryman shows it has become a tradition that the band picks an artist and each night they cover a different song by them. Last year it was R.E.M. and this year it was The Band, which made perfect sense since Danko/Manuel is about them. They closed the night with one of their iconic ending songs, Miles.

Overall it was probably my favorite 400 Unit set so far, and I know I say that almost every time but they really do keep getting better. I have seen them over ten times and the fact that they still manage to play at least one song I have never heard live keeps it exciting. Being surrounded by superfans in the Ryman always feels like a homecoming. I met a few people who follow me and it was wonderful talking with them. I never go to a Ryman show now without seeing familiar faces and that is so special.

I also realized I have only done one Ryman show each year, so Courtney and I decided that next year we have to try for three in a row. I cannot wait. I have a Isbell solo show coming up in January, so I will see you all then!

On October 31 and November 1, I had the pleasure of spending two unforgettable nights at Atlanta’s legendary Fox Theater with My Morning Jacket, celebrating both the release of their new album Is and the twentieth anniversary of their iconic record Z. I had heard countless times that My Morning Jacket is one of the best live acts touring today. People always talk about how their shows are on another level, and this weekend I finally got to experience it for myself. I was over the moon. Before diving into the shows, a little personal background. I had always heard of them in music conversations but never truly listened until this year. When I saw posts about their new album, I decided it was finally time to dive in. The first song I played was One Big Holiday and my mind was blown. The opening guitar duel hit like a storm, then Jim James’s angelic voice came in, and I got chills. I was immediately hooked.

Since then, they have become one of my favorite bands, and I even had the chance to interview their bassist Tom Blankenship. When I saw they were playing two nights in Atlanta over Halloween weekend, I knew I had to go.

The Fox Theater itself was a dream venue for me to visit. It is regal, historic, and breathtaking. Everyone from Elvis to James Brown to R.E.M. has graced that stage. I had to mention that Oasis performed there on their Be Here Now tour in 1998, which was fun to discover since I dressed up as Liam for Halloween night. The moving cloud ceiling alone made me feel like I had stepped back in time. Two nights were not nearly enough to take it all in.

Night 1: An Ozzy themed Halloween

Photo credit: @thenicklanglois

Halloween night at the Fox was absolutely electric. I had never been to a concert on Halloween before, and this one set the bar sky high. Everyone was dressed up. I saw The Muppets, Billy Madison, The Dude, Freddie Mercury, David Bowie, and lots of My Morning Jacket themed costumes. A couple came as “Peanut Butter Pudding Surprise” from the song “Highly Suspicious.” I saw a man as “Holding on to Black Metal” and a woman dressed as the Z album cover.

When the band walked on stage, each dressed as a different era of Ozzy Osbourne, the crowd erupted. They opened with Black Sabbath by Black Sabbath, setting the tone instantly, then went into “Evil Urges.” The run of “Touch Me I’m Going to Scream Pt. 1,” “Holdin On to Black Metal,” and “I Think I’m Going to Hell” perfectly captured the rock and roll Halloween vibe.

This tour was promoted as “No Repeats,” meaning we got completely different setlists each night. Halloween leaned heavy and theatrical but still full of warmth and playfulness. My Morning Jacket has an incredible ability to flow between songs, starting one, morphing into another, and then returning to finish it. During “Run Thru,“ they slipped into “Fairies Wear Boots” by Black Sabbath, then back into “Run Thru.” It was totally mesmerizing to watch unfold.

If you were sitting down at this show, you were out of place. The Fox might be perfect for a sit down concert, but this was a two and a half hour dance party. Everyone was up, locked in, and singing their hearts out.

That communal energy stood out to me. I have been to shows recently where I was the only one dancing, like when Alkaline Trio opened for Blink-182 and people gave me odd looks. But at a Jacket show, everyone moves. It feels like worship, arms raised, smiles wide, total surrender to joy.

One of my favorite moments was “Squid Ink.” That thumping bass riff from Tom, Jim’s soaring vocals, and one of the best instrumentals they have ever recorded made it a high point of the night.

The Ozzy theme stayed strong. Patrick made his Ozzy shirt with fringe by hand, Bo kept his wig on the entire set while manning what I like to call his “keyboard spaceship,” and Tom stood in front of the fan so his cape would blow dramatically. Watching them was pure happiness.

The encore took things even higher. “Strangulation!” and “The Dark” were perfect for Halloween, and in true Ozzy fashion, they brought the energy levels to an all time high with a rocking cover of “Crazy Train.” Jim’s vocals were on fire, and Patrick and Tom looked every bit like rock stars. Patrick channeled Animal from The Muppets while Tom headbanged with his long hair flowing.

Then it was time for the finale, “One Big Holiday.” The moment those opening notes hit, the entire theater lost it. I had full body chills. Even with my mobility challenges, I could not help but jump up and down. For that song, our entire row filled with people singing together, shouting every word. It felt like a movie ending, a moment suspended in time. I almost cried from how moved I was. It was one of those moments of raw and unfiltered joy fueled by song that reminds me how special life is and how blessed I am to be able to experience live music.

After the show, I got to say hello to Tom, who is just as kind and genuine as he seems, and briefly met Carl as well. It is always special when the musicians you love are truly good people and these guys are the real deal.

Night 2: The Z Experience

Night two was the one I anticipated most, because they were playing Z from start to finish. I have been to a few album in full shows before. I saw Jason Isbell do Southeastern, They Might Be Giants play Flood, Drive By Truckers play Southern Rock Opera, and Death Cab for Cutie and The Postal Service perform Transatlanticism and Give Up. I always wonder how artists will structure album shows, and My Morning Jacket’s approach was perfect.

They opened with a nine song warm up set before diving into Z with no breaks. They started with another new one, “Half a Lifetime” from Is, then went into “Circuital,” which always sends shivers down my spine and was a spriutal experience hearing it live. “Mahgeetah” turned the entire crowd into a sing along, everyone dancing under the Fox’s starry ceiling, the lights syncing perfectly with every beat. Sequined jackets sparkled, the disco ball reflected like a galaxy, and the moving clouds above gave everything a vibrant magical glow.

Then came the beautiful “Golden” where Jim serenaded us with his acoustic guitar.During it, I could not help but think about this incredible video I came across that morning from when they played “Golden” at Madison Square Garden in 2008, where friend of the show, Will Johnson, sang background vocals. Moments like that mean so much to me because they remind me how music builds community. A lot of My Morning Jacket fans are also fans of the other musicians I love, and in this scene, so many of these artists have played together and are true friends. That sense of connection always warms my heart.

After that, they ripped into “Cobra,” weaving it into “Everyday Magic” before returning to “Cobra.” The transitions were effortless and thrilling. Then, unexpectedly, they covered “Head Over Heels” by Tears for Fears, which was stunning and nostalgic, and after without warning, ”Wordless Chorus” began, signaling the start of Z. No announcement, just that first transcendent note. I got full body chills again.

The best way to describe how I felt in that moment was similar to the episode of American Dad where Stan goes to take Hayley home from a My Morning Jacket show. He is completely against rock concerts, but as soon as his earplugs are pulled out by another concertgoer, he freezes and says, “Do you hear an angel? Possessing you? Living in your heart?” Then he becomes transfixed on Jim James, his eyes fill with tears, and he says, “Oh my God, I feel… I feel everything. As funny as that scene is, it is real. That is what “Wordless Chorus” and Jim’s vocals do. They makes you feel everything deeply.

I was four when Z came out, too busy dancing to The Wiggles to know what I was missing, but watching the crowd around me, I could see what this album meant to them. These songs have soundtracked lives for twenty years. I wondered what memories they held, what road trips or heartbreaks these tracks lived through. It made me wish I had grown up with it, though I am grateful I get to experience it now with fresh ears.

Every song landed perfectly. “What a Wonderful Man” burst to life with Bo’s piano intro, another standout was that dueling guitar moment between Carl and Jim on “Lay Low,” and fun fact, is one of Jason Isbell’s favorites. The epic album closer, “Dondante,” was transcendent with Carl’s sax solo stealing the show.

The night ended with one of their well-known closers among fans, “Dancefloors,” which summed up the love and positive energy of the entire weekend. My Morning Jacket shows feel like home to a community that embraces you with open arms. This weekend was another reminder of how important music is, how it helps us feel connected and seen, and how it brings us peace. Thousands of people gathered inside a theater that was built almost one hundred years ago and turned it into one big dance party in our Halloween costumes. This was my first time seeing My Morning Jacket, but it will not be my last. I will see you all on the rail next tour.

I usually come here to recap a show I just saw, to post an interview, or to share thoughts on an artist or something happening in the music scene. I open up a little in those pieces, but I have never written something that is one hundred percent about me. I have been thinking about this for a long time, and I think it is time to tell my story.

If you have followed me for a while, you might have seen me mention that I am autistic. I wanted to take some time to talk about that more and how it connects to why I do what I do with Undefined. I also want to share how music has helped me as a neurodivergent girl trying to find her place in the world. To tell that story, we have to go back to the early 2000s. I was born in 2000. My early childhood felt normal at first. I was late to walk, but I started talking right after my first birthday and never really stopped. I was that kid who was always chatting, curious, and full of energy. Kindergarten was my favorite place. My class was full of color, play, and one on one learning. I had a little group of friends and loved going every day.

Even then there were signs that my brain worked differently. I had trouble sitting still, never made eye contact, and was always fidgeting. My motor skills were awkward, and I could never seem to stay quiet. Still, I was seen as just a little quirky. That changed when my family moved from North Carolina to Florida. My new school was stricter and colder. I could not focus, and I started to feel different in a way I could not explain.

I began studying the world like an outsider trying to learn the rules. I watched Nickelodeon and Disney Channel and tried to copy the way kids acted, laughed, and spoke. I thought if I could just mirror them, I could belong. But it never worked. Teachers did not understand me, I cried often, and by third grade my parents decided to homeschool me. I spent most of my childhood alone, learning in my own world.

Music was the one thing that made sense. My mom burned mix CDs for me with The Killers, Kelly Clarkson, Coldplay, Muse, and U2. I loved studying each song, asking who sang it and what it meant. Then came The Naked Brothers Band. I was obsessed. I memorized every lyric and line, and when I learned that Nat and Alex Wolff loved The Beatles, I asked to hear them too. The first time I listened to “Love Me Do,” something in me sparked to life. I fell into Beatlemania. I became a walking Beatle encyclopedia who could not pass a trivia card without correcting it. I even got in trouble in first grade because I was reading my Beatles CD liner notes while my teacher was trying to talk to me.

I checked out every book from the library, watched every documentary, and carried DVDs around like treasure. I could not remember spelling words, but I could tell you every Beatles album in order. That was when I realized how my brain worked. When I love something, I do not just like it, I live inside it. Music became my first language. It taught me emotion, empathy, and how to feel things deeply.

As I grew into my teen years, music became a lifeline. In 2014 I was diagnosed with Lyme disease and several autoimmune disorders. During those years of doctor visits, I was also told I might have what was then called Asperger’s Syndrome. It scared me. I refused to talk about it, even though looking back the signs were clear.

Before that, I had another deep obsession. I collected VHS tapes and made YouTube videos showing my collection of old Nickelodeon and Disney movies. Some videos got over one hundred thousand views, and I even made money from it. But at thirteen, I decided it was embarrassing. I shut down the channel, gave away the tapes, and tried to like something more normal. My parents were sad to see me give it up, but I wanted to fit in.

I carried that shame into my teen years. I needed strict routines, wore only T-shirts and jeans, hated loud noises, and was easily overwhelmed. But since I was doing better in school, I convinced myself I had “grown out of it.” Music was the one constant. When I discovered Twenty One Pilots, I heard someone else sing about anxiety and realized I was not alone. Around that time I started listening to Blink 182’s self-titled album every single day. The repetition soothed me. The songs were raw and steady, and I used them to regulate my emotions. Every beat felt like something holding me together.

By 2018, I was in technical college studying graphic design and finally felt capable again. I loved creating and found something I was good at. My professor encouraged me to apply to university, and I got into Stetson. In those classes we could listen to music while working, and that is when I discovered Death Cab for Cutie. I had heard their singles before, but when I found out they were coming to town, I decided to go. I used my special interest powers to listen to every song before the show. By the time I stood in the pit talking to superfans, you would have thought I had been one my entire life. That night changed me. Ben Gibbard’s voice felt like a hug to my nervous system. When I was anxious or overstimulated, I would put Death Cab on and it was like the noise inside my brain paused.

College life was still hard. I struggled to make friends. When the pandemic hit, I watched Ben Gibbard’s live streams every day. They were my constant. When we returned to campus, I decided to join a sorority, thinking it would fix everything. I thought I had finally done it. I was in. I had sisters, a house, a community. But it was not what I hoped for. I tried my hardest to fit in, but I felt like I was pretending to be someone else. I realized that the more I tried to be like everyone around me, the more I lost who I was.

Then came the night that changed everything. One random night that was just supposed to get me out of the house turned into what I now call a cannon event. My family was going to see American Aquarium and I figured why not. I had not seen a live show since before COVID and I missed that feeling of air vibrating with sound. I walked in expecting a casual night and walked out changed. BJ Barham came on stage with this raw energy that felt both angry and tender at the same time. His words hit somewhere deep. In a season when I felt uncertain about everything, that show reminded me what joy felt like.

Of course I became obsessed. Between 2021 and 2022 I saw them about eight times. I celebrated my twenty first birthday at their show in Jacksonville and Neil Jones, their pedal steel player, handed me my first beer.

That night sent me into what I did not realize then was another autistic deep dive. I learned every lyric, every lineup change, every bit of band lore. I found out they had an album called Burn Flicker Die that had been recorded in Muscle Shoals, Alabama, produced by this random guy named Jason Isbell… And like any good deep dive, one name led to another. If a band I love mentions another artist, I have to listen. It is a compulsion and a gift all at once. So I queued up Jason Isbell.

If you have read even one of my posts, you already know how that went. Jason’s music hit me like lightning and balm at the same time. Until then, I liked songs because they sounded good. I rarely understood what lyrics meant because my brain processes words literally. I could memorize every line of a song without ever grasping what it was saying. American Aquarium had started to change that by giving me stories I could picture, but Jason was the first artist whose words truly clicked. His voice felt like a hug to my nervous system. The lyrics landed in pictures. I had just moved to Mississippi, and when I heard him sing about a speed trap town I could see my own highway. He even had a song called Tupelo and I lived near Tupelo, which felt almost too perfect. The song that stayed with me most was Last of My Kind. The line “I tried to go to college but I did not belong. Everything I said was either funny or wrong” felt like someone had opened my diary. I was that girl trying to be loved in a sorority, forcing myself into a puzzle where my piece did not fit. During that lonely time Jason’s music carried me and whenever I listened to it, I felt safe.

By senior year I had finally withdrawn from the sorority. I got a tiny campus apartment and decided to figure out who I really was. With all the time I used to spend on meetings and events, I brought back my college radio show. I called it Undefined because I wanted the freedom to play anything. Some days it was The National, other days Barenaked Ladies, sometimes Tyler Childers. I liked that it could be messy and real.

When I was a kid I would spend hours watching musician interviews and late night performances, imagining the questions I would ask if it were me. Now I had the chance to do it. I started reaching out to artists and asking if they wanted to talk. To my surprise, people said yes. My first semester I interviewed Cory Branan, Shane Smith, and John Flansburgh from They Might Be Giants. Like most twenty two year olds in 2023, I discovered TMBG and promptly lost my mind over them. I was almost mad at my parents for not introducing me sooner. They were weird, funny, and completely themselves. Watching them helped me realize I could be the same way.

Around that same time I finally stopped pretending I had “grown out” of autism. The mask was slipping anyway. I took the RAADS R test and scored over 170, which is very high. In 2024 I was officially diagnosed again with high functioning autism and sensory processing disorder. Instead of feeling ashamed, I felt relief. I started seeing the pattern in everything. It was okay that I loved being alone, that I took myself on dates, that I needed learning accommodations, that I slept with plushies, that my favorite cartoon was Bluey. The things that made me feel different were also the things that made me thrive.

My ability to memorize details became a superpower for interviews and research. My focus made artists feel seen. Slowly, I stopped caring if my interests did not match other girls my age. I realized that joy matters more than fitting in. Through sharing my love for music online, I found people who understood me. I never made honor roll, but now I am earning a PhD studying how media and music affect people.

Right before graduation, I went to see Wilco. It was my first time going to a concert alone. I was nervous, so I asked for ADA seating and they placed me in an open section with a folding chair. Having that space gave me freedom. When the lights dimmed and the first notes started, I stood up and let my body move. I swayed, I jumped, I danced in my own rhythm. I stopped thinking about how I looked. For the first time, I felt completely in my body, fully present, fully me.

After the show, strangers came up to tell me they loved watching me dance. They said it made them smile. That meant more to me than they will ever know. I had spent so many years hiding, and now I was being seen in joy.

Now, I do not hide anymore. At ShoalsFest this year, all my friends knew about my autism. When Jason walked on stage, I could feel the electricity in my chest. It was my first show in the barricade. I did not hold back. When he started playing “King of Oklahoma,” I lost it completely in the best way possible. I jumped, I laughed, I did ridiculous dance moves that would have embarrassed the old me. I felt pure happiness.

I think about that moment often. Little Bella would have tried to stay still, to not be noticed. But now I dance without apology. I used to think autism made me different in a way that I had to hide. Now I see it as the reason I feel everything so deeply, the reason I love the way I do, the reason music feels like sunlight in my chest.

If you are neurodivergent, I hope you know this. You are not alone. There are people like me who know how it feels to be different, to be misunderstood, to cry over the things your brain will not let you do easily. But you are not broken. Find what makes you come alive and hold onto it. Let yourself love what you love. Go deep. Go to shows. Dance the way your body wants to. If you need space, ask for it. If you need quiet, take it. Never feel ashamed to take up space.

When I stopped hiding and stopped trying to be less of myself, the world became louder, brighter, and more full of music. I am still learning, but I am proud of who I am. I am proud of my autistic brain, my deep dives, and my heart that feels everything. If you ever see me at a show, jumping and swaying with my eyes closed, know that I am home.

In this episode of Undefined, Bella sits down with Tom Blankenship, bassist and founding member of My Morning Jacket. The two talk about the band’s new album “Is,” celebrate the 20th anniversary of their iconic record “Z,” and dive into what fans can expect from their upcoming fall tour. Tom also shares festival stories, reflections on fatherhood, and his love for vintage 90s graphic t-shirts. This conversation was such a blast. Catch Tom with My Morning Jacket on tour this fall, and grab a copy of “Is” on vinyl!

Undefined With Bella

Undefined is my show and blog where I explore music across genres, from indie and alternative to country and rock. I interview artists I admire, reflect on concerts and albums, and share personal stories about how music helps me make sense of the world

In true Undefined fashion, I just spent another weekend at an Isbell show, and I am now here with y’all to give you a debrief of a wonderful time at my first ShoalsFest.

On October 11 and 12, the fourth annual ShoalsFest took place at MacFarland Park in Florence, Alabama. The festival is organized by Jason Isbell and his amazing team. Jason grew up in Greenhill, Alabama, and the Shoals are a huge part of his story. He spent his early years watching local musicians play in small venues, and when he was in his twenties, he met Muscle Shoals legend David Hood, who introduced him to his son Patterson. That introduction led to him joining the Drive By Truckers, and the rest is history.

This year’s lineup felt like a love letter to Alabama and to the music that shaped and was inspired by it. Saturday featured Garrison Starr and her all-female band, Shoals icons Dan Penn and Spooner Oldham, a special “in the round” set with Patterson Hood, Jason Isbell, and Nashville songwriter Chris Tompkins, and a stunning closing set by Jackson Browne. Sunday’s lineup included MJ Lenderman, Birmingham’s own Waxahatchee, and a closing set from Jason Isbell and the 400 Unit.

Before heading to the park, I was lucky enough to attend a special Will Johnson solo acoustic show at Rocker Gallery in Sheffield. The gallery is owned by Jason’s manager, Traci Thomas, and her husband, Alan Daigre. It’s one of those places that blends art and music so perfectly you feel like you’re stepping into someone’s living room and a museum at the same time. For ShoalsFest weekend, they had special exhibits featuring Will’s baseball-themed paintings, photography by Josh Weichman, who is the main photographer for the 400 Unit, and New Orleans photographer Erika Goldring, whose live music photos have been featured in Rolling Stone. Rocker also hosted legendary Asbury Park photographer Danny Clinch, whose rock and roll portraits are instantly recognizable.

I can’t talk about Rocker without mentioning Alan Daigre’s handcrafted wooden chairs. If you saw Jason’s solo shows this spring, you saw those chairs onstage. They’re not only gorgeous but also the most comfortable chairs I’ve ever sat in. If I were Jason, I’d be thrilled to play two hours in one every night.

The iconic chairs in all their glory lol.

The night began with time to mingle, take in the art, and talk to other fans. Everywhere I turned, I saw familiar faces, and it felt like a family reunion. Then, to everyone’s surprise, Jason came out to lead a Q&A with Will. Their conversation about painting, baseball, and creativity felt like two best friends swapping notes on how to express their passions and use their creativity for good. Will is one of my heroes, and hearing him talk about channeling energy into art moved me deeply. Jason was the perfect interviewer, funny, thoughtful, and genuinely curious. Afterward, Will played songs from his solo work and from Centro-matic. When he sang “Just to Know What You’ve Been Dreaming,” I stopped breathing for a moment. That song always brings tears to my eyes. It’s one of the most beautiful love songs ever written, and hearing it live was everything I hoped it would be.

Now on to the festival. Before I get into the music, I want to note how perfect McFarland Park was as a setting. The water, the pines, the open space, and the sound of music mixing with the wind made everything feel peaceful from the moment we arrived. I had a VIP pass, which gave me access to a shaded deck beside the stage, food from Odette, and air-conditioned restrooms. With my mobility and sensory needs, that setup made the weekend possible. I could watch from the rail, step away to rest, and come back ready for more. I’ll definitely be doing VIP again next year.

Saturday started off with Garrison Starr, who immediately set the tone with her sharp humor and powerhouse voice. Her band was electric, and the crowd was hooked within minutes. Then came Dan Penn and Spooner Oldham, two legends who’ve been writing songs together since the 1950s. They played classics like “Cry Like a Baby,” “I’m Your Puppet,” “Do Right Woman, Do Right Man,” “The Dark End of the Street,” and “Memphis Women and Chicken,” telling the stories behind each one. Watching David Hood smile proudly from the side stage nearly brought me to tears. It was one of those moments that make you feel lucky to be there.

The part of the festival I was most curious about was the “in the round” session with Patterson Hood, Jason Isbell, and Chris Tompkins. It ended up being the most unique and intimate part of the weekend. The set opened with Patterson singing “Uncle Disney,” and then each of them took turns playing a song of their own, sharing stories between each one.

For those unfamiliar with Chris Tompkins, he grew up with Jason and is one of his closest friends. They told stories about writing songs and playing in bands together as kids. Chris is now a Nashville songwriter who has penned some of the most well-known modern country songs of the last two decades, including “Dirt” by Florida Georgia Line, “Drunk on a Plane” by Dierks Bentley, “Bama Breeze” by Jimmy Buffett, and most notably, “Before He Cheats” by Carrie Underwood. I’m not too familiar with the Nashville pop-country scene, so it was my first time hearing most of the songs Chris has written. He also has a beautiful voice, and if he ever released an album of him performing his own songs, I would listen in a heartbeat.

Watching him perform made me think about how important songwriters like Chris really are. They create these massive hits that stars play nightly and that end up woven into so many people’s memories. Hearing those songs from the person who actually wrote them added a whole new layer of appreciation.

I’ve seen Jason perform solo before, but I had never seen him share the stage with Patterson. Hearing the two of them harmonize on “Outfit” and “Heathens” healed something in me. Patterson radiates joy every time he performs, whether it’s with the Truckers or on his own. You can tell this is his life’s passion. He loves his friends deeply, and honestly, he might even be a bigger Jason fan than I am.

One of the most touching moments came when Patterson played “Heathens.” Jason smiled and said it was a perfect song. Then Jason played “Outfit,” and Patterson grinned and said, “Now that’s a perfect song.” They fist-bumped, and the crowd melted. It was such a sweet, genuine moment between friends. Jason also debuted a gorgeous new song that I believe is called “Fairweather.” I can’t wait to hear it again soon.

That entire set felt like a celebration of friendship, creativity, and the musical roots of the Shoals. It was tender, funny, and was perfect a reminder of why this place and these people matter so much.

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Jackson Browne was the perfect closer for the night. During the round, Jason and Chris had talked about how much his songwriting meant to them, and you could feel that reverence when he finally took the stage. Having Browne perform at ShoalsFest was clearly a bucket-list moment for them — and honestly, for everyone in the crowd.

Although Jackson Browne isn’t from the South, his influence runs deep here. He’s inspired countless musicians in Alabama and the Shoals, so seeing him play his first show in Florence felt like a full-circle moment for the entire community. I talked to several people who said they’d traveled from out of state just to see him, and for many, it was a lifelong dream come true.

My experience was a little different because I wasn’t as familiar with his full catalog. I knew the hits, but I didn’t grow up listening to him, so I had the joy of hearing many of these songs for the first time. His voice has this calm steadiness that puts you at ease, and his band and backup singers were phenomenal. I left excited to dive deeper into his music and lyrics and to better understand how he’s shaped so many of my heroes.

Some of the most special moments of his set included the crowd singing “Happy Birthday” to him (his birthday was the night before), the energy that filled the park during “Somebody’s Baby,” and the joy of the massive singalong for “Doctor My Eyes.” But nothing compared to the final song when Jason joined him for “Take It Easy.”

That song was a huge part of my childhood. I have vivid memories of belting it out from my car seat on a Jack Johnson live CD, not even realizing Jackson Browne was the one singing with him, or that he had written it in the first place. Hearing it live felt surreal. I never imagined I’d get to experience that song in person, and it was so heartwarming to see Jason live out one of his own childhood dreams onstage beside him.

Day two kicked off with MJ Lenderman and the Wind. I saw them earlier this year (you can read that here), but this time they delivered a fun, high-energy festival set that fit the mood perfectly. They opened with “Rudolph,” which immediately got the crowd hyped. From there, they played favorites from Manning Fireworks including the title track, “Joker Lips,” “Wristwatch,” “Bark at the Moon,” “She’s Leaving You” with special guest Waxahatchee, and “Riptorn,” which is one of my personal favorites because it features bassist Landon George on fiddle. Landon is such a joy to watch.

They also debuted a new unreleased song called “Pick Up the Pieces” and closed with their usual crowd-pleaser, “Knockin.” What stood out most about Lenderman’s set was the crowd. It was full of people in their 20s, which is not always the case at these shows. I am usually among the youngest in the crowd, so it was exciting to see others my age discovering his music, singing along, and hopefully finding new artists to love that night.

The standout performance of the entire weekend for me was Waxahatchee. I had seen Katie Crutchfield and her band earlier this year with Wilco and loved it, but this set was something special. Although I adored her Wilco performance, that crowd’s energy was off, and I was the only one up singing and dancing. That was definitely not the case here. The ShoalsFest crowd knew every word to every song, and the energy was pure joy from start to finish.

It was also refreshing to see how present the audience was throughout the weekend. That is rare these days, especially at festivals. People did film and take photos, but they did so respectfully and spent most of each set, especially Waxahatchee’s, simply listening and being there. The energy built higher with every song, and the joy in the air was contagious. I could not wipe the huge smile off my face.

Her songs translate perfectly to a live setting. The set was even more special because MJ Lenderman joined her on guitar for several songs. He played on her Tiger’s Blood album, so it felt fitting to see them reunited. Of course, they performed their song together, “Right Back to It,” which drew massive cheers. Someone in the crowd shouted, “I LOVE THAT SONG!!!,” and honestly, same. It was a core memory moment.

Another point of note was that her drummer, and previous Undefined guest, Spencer Tweedy, was not there because he is currently touring with his family band. Griffin Goldsmith from Dawes filled in and fit right in. Watching him play was such a treat. They closed their set with “Fire,” and it was perfect.

To end the weekend, Jason Isbell and the 400 Unit took the stage for a set that felt like a love letter to the Shoals and to the people who make it what it is. The performance felt deeply personal and perfectly themed. They opened with “Crimson and Clay,” a song all about Alabama, then moved through hometown-centered tracks like “Speed Trap Town” and “Alabama Pines.” The band tore through rock and roll jams that got everyone moving, including “This Ain’t It” and “Super 8,” but the most emotional moment came when Patterson Hood joined them for “Decoration Day.”

A personal story here. I discovered Jason’s music in 2021 (you can read about that here), right around the time ShoalsFest happened that year. I remember scrolling through Facebook and finding a video of Jason playing “Decoration Day” with Patterson Hood and Mike Cooley. I was completely blown away, jaw on the floor and tears in my eyes, wishing I could have been there instead of stuck in DeLand, Florida, at Stetson University. So when Patterson came out this year, I got chills. When I realized they were about to play “Decoration Day,” I nearly lost my mind.

That song was the first Drive-By Truckers or Isbell song I ever connected with. I used to walk around campus listening to the live version on repeat, memorizing every lyric and every guitar solo. Seeing Jason, Patterson, and the 400 Unit perform it right in front of me felt like watching a dream I had carried for years finally come true.

After that, the band took a bow, paused for a moment, and returned for the encore. They began with “Children of Children,” which hit hard, especially with Jason’s family watching in the crowd. This year marks the ten-year anniversary of Something More Than Free, and five songs from that record made it into the set. “Children of Children” is one of Jason’s most personal songs, and hearing it in his hometown made it even more powerful.

They saved the best for last, closing with my favorite song of all time, “King of Oklahoma.” For a minute, I thought they might skip it, and I felt a small pang of disappointment, but then I heard the opening riff and completely lost it. I have seen Jason more than ten times, but this was my first time on the rail, holding onto the barricade, screaming every word, dancing like a crazy person, and feeling pure joy. It was one of those moments where I felt so grateful to be alive. I was in a beautiful place, surrounded by people I love, singing my favorite song with my favorite band.

Every time I see Jason, I am reminded of how thankful I am to have found his music and how lucky I am to keep experiencing it live. His shows are more than concerts to me. They are therapy, community, and home. Usually, I go to these shows alone or with someone tagging along for emotional support, but this time I was surrounded by friends who love him as much as I do. We sang, danced, laughed, and lived fully in the moment.

Sometimes at school or among peers, I feel like the last of my kind, the only one who loves this kind of music the way I do. But this weekend, I did not. I felt part of something bigger, a family of people who get it. I met so many of you who read Undefined and told me you enjoy my work, and I cannot put into words how much that means to me.

I started Undefined because I did not have many friends who shared my taste in music and I needed a space to express that passion. To know that my words have resonated with people and made someone happy is the greatest gift. If I met you this weekend, just know how much I appreciated getting to talk with you.

I am so grateful to have this platform and to be able to experience weekends like this even in the middle of my busy PhD schedule. ShoalsFest 2025 was truly one of the best weekends of my life. I am endlessly thankful to Jason’s team for putting together such an incredible event, to the wonderful VIP volunteers who made everything run smoothly, and to Traci and Alan for everything they do for the festival and for hosting everyone at Rocker Gallery.

The whole weekend, Isbell’s song “River” kept running through my head. That image of the water carrying everything you can’t hold anymore felt so true out there by the TVA. Between the music, the people, and the quiet moments in between, I felt like I was finally learning what it means to let the river carry you. It was a weekend I’ll treasure forever.

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