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.

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!

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!

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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Photo courtesy of Coca-Cola Amphitheater /cocacolaamp on IG

It seems like I’ve unintentionally created a tradition. After each Jason Isbell show, I come here and reflect—trying to put into words what it meant, what it stirred up, what stayed with me. So it only feels right to write about the night of June 28th in Birmingham, Alabama, where I saw Jason Isbell and the 400 Unit, with Band of Horses opening, at the brand-new Coca-Cola Amphitheater.

This show stood out from the others for a long list of reasons. It was my first time seeing the full band play songs from Isbell’s latest solo record, Foxes in the Snow. It was also the first time I’d ever seen Band of Horses live—and the only date they’re opening for Jason on this tour. And it happened at a brand-new venue that, despite my early hesitation, turned out to be one of my favorites.

The Coca-Cola Amphitheater just opened in June and seats around 9,300. I wasn’t sure what to expect based on the photos, but I ended up loving it. The staff was kind, the seats were comfortable, the stage was big, and the sound was excellent. Huge bonus: they had soft-serve ice cream at the concessions—which became essential in the 90-degree heat. If you’re planning to visit, bring a rechargeable fan (or grab one at guest services). You’ll need it.

Band of Horses came out with the kind of quiet confidence that made the whole night feel like a co-headlining tour. Frontman Ben Bridwell opened the set seated behind a pedal steel, easing us in with “The First Song” from their 2006 record Everything All the Time. I’d never seen a frontman sing from a steel guitar before—it was effortlessly cool.

Bridwell eventually picked up his electric guitar and led the band through a tight, emotionally rich set featuring fan favorites like “NW Apt.,” “Cigarettes, Wedding Bands,” “Ode to LRC,” and “Laredo.” “No One’s Gonna Love You” was every bit as bittersweet and iconic as expected, and “The Funeral” gave me chills. They closed with “The General Specific”—a song that feels like it belongs in the final scene of a film. The entire set was cinematic in that way: expansive, layered, and full of feeling.

What stood out most, though, was the visible joy. You could spot the superfans (myself included) jumping and singing at full volume, especially during “Is There a Ghost?” It was the kind of opening set that fills your chest before the headliner even takes the stage.

My mom caught me on camera jamming to BOH.

When Jason and the 400 Unit walked onstage, the energy shifted. They opened with “When We Were Close,” the gut-wrenching rocker from 2023’s Grammy-winning Weathervanes, before sliding into the fan-favorite “Stockholm.”

This was the largest venue I’ve ever seen them in—most of my shows have been in theaters like the Ryman or The Pinnacle. Seeing them in a full-scale outdoor amphitheater meant I got to watch the band on a jumbotron for the first time. And it was thrilling. I couldn’t stop smiling every time the cameras cut to Anna Butterss on upright bass, or Sadler Vaden and Will Johnson shredding side by side. They got well-deserved screen time, and it felt like watching old friends rise to the moment.

Every member was in top form—Anna Butterss on bass, Derry deBorja on keys, Chad Gamble on drums, Sadler Vaden on guitar, Will Johnson on backing vocals and various instruments, and of course, Jason himself. This current lineup is the best version of the band yet: tight, collaborative, and joyful. One of my favorite traditions at these shows is when Jason pauses to introduce each band member by name, often before and after key songs. It’s endearing and genuine, and it makes the crowd erupt in cheers for every player, not just the man up front.

And then came a moment I’ll never forget: the band broke into “Outfit,” the song Jason wrote during his Drive-By Truckers days—a song I’ve long dreamed of hearing live. I squealed. Loudly. But they didn’t stop there. They surprised the crowd with a second DBT classic, “Decoration Day,” which is my favorite song of all time. The opening riff hit and I lost it—jumping, shouting, singing every word. It was spiritual. It was mine.

What made it even more surreal? I could see Mike Cooley, Jason’s former bandmate, standing in the crowd, there as a friend and supporter. Watching that moment unfold with him just a few rows away felt like a full-circle moment for Southern rock, and for me.

One of the things I was most excited about was hearing how Foxes in the Snow would sound live with the full band. The songs had new energy, a kind of emotional muscle layered over their studio stillness.

They played six of the album’s eleven tracks, starting with my personal favorite, “Crimson and Clay.” Each one brought something different. “Bury Me” took on a bluegrass energy. Chad’s backing vocals on “Open and Close” added warmth. And “Ride to Robert’s” featured Jason and Sadler dueling on acoustic guitars—subtle, intricate, moving.

A surprise deep cut from Something More Than Free, “Children of Children,” nearly broke me. Jason sang about his teenage mother with heartbreaking clarity, his voice raw on the line:
"I was riding on my mother’s hip / she was shorter than the corn / all the years I took from her just by being born."
It almost brought me to tears—until they melted away in a wave of guitar solos from Jason and Sadler that felt like fire and forgiveness all at once.

I’ve seen this band more times than I can count, and I have plans to see them again this year. Why? Because every time, it’s different. Sure, a few staples stay in rotation—but each night brings its own surprises. Every show I hear at least two songs I haven’t heard live before. I never get tired of Jason’s soaring solos, Sadler’s windmill strums, Will and Chad hitting their drums in perfect sync, Derry at his spaceship-looking keyboard, and Anna anchoring it all with their basslines and presence.

These shows aren’t just concerts. They’re therapy. They’re musical meditation. For the past four years, this band has been an anchor in my life. This show—between the setlist, the joy, the big screens, and singing with my mom—was my favorite full-band Isbell show yet.

I’ll keep the details close to my chest, but after the show, I had the chance to meet Anna, Will, and Sadler in person—after having interviewed them over Zoom. It felt less like a first meeting and more like a reunion. We talked about music and life. I also got to catch up with their photographer, Josh Weichman, whose work I deeply admire. You should support his work and buy his prints here.

I saw Mike Cooley again, met Chad for the first time, and got to talk with with Jason’s wonderful mother.

And finally, I got to meet Jason. He saw me and smiled big, and I smiled right back. He knew who I was immediately. It was surreal, it was soft, and it was something I’ll cherish forever.

Now I’m counting the days until I head to Muscle Shoals to see Jason and company again—this time at his hometown festival, ShoalsFest!!!

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If you’re familiar with me, or if we’ve ever had a conversation that even touched on music, you probably already know how much I adore Jason Isbell. Since I first discovered him in 2021, his music has become a constant in my life. Through the highs, the heartbreaks, the stress, the stillness, the change—he’s been there. His songs have helped me make sense of the world and how I fit in it. In just the last three years, I’ve seen him five times with the 400 Unit. But this weekend? This was my first time seeing him solo. Just him and his guitar. And it was something I’ll never forget.

He played three nights at Nashville’s brand-new venue, The Pinnacle. The venue opened in February, tucked inside the Nashville Yards. It felt like a hybrid between The Ryman and The Basement East: intimate but still full of energy. Usually, The Pinnacle is general admission, but for this run, the setup was transformed into a more formal, seated layout. Everyone had assigned seats, which already gave it a different vibe than most shows. There was this air of reverence, like we were about to witness something sacred.

On March 7th, just before this run, Jason released Foxes in the Snow, his first-ever solo album—just his voice and his guitar. The record feels like a meditation, like he’s letting us read a diary that’s raw, reflective, and honest. He’s gone through a lot personally these past few years, and you can hear it in every line. The album feels like he’s closing one chapter and cautiously opening another. New places. New people. A new season of life. To celebrate that, he launched a solo acoustic tour, and these Nashville shows were the heart of it.

Before each show started, there was an announcement asking the crowd to keep phones away. That alone made the whole experience feel different. No screens lighting up the room. No recording for Instagram. Just quiet, focused attention. In my 24 years, and after seeing more than 100 shows, I can honestly say I’ve never seen a crowd so locked in. You could hear every breath, every foot tap, every tiny shift in tone. That kind of silence only happens when people are fully immersed, and that’s the environment Jason had created.

Each night began with a different song: Thursday started with “Bury Me,” Friday opened with “Overseas,” and Saturday kicked off with my personal favorite, “King of Oklahoma.” That unpredictability made it all the more special. Every night had a different setlist. Some staples were there each show—songs from the new album, of course, and classics like “If We Were Vampires”—but everything else was a surprise. That excitement of not knowing what was coming next made the whole experience feel alive.

Isbell’s stage presence is magnetic. What made this run even more special for me, as someone who’s a longtime fan, was how he talked to the crowd between songs. It felt like I was sitting in on a private taping of VH1 Storytellers. And while some might expect deep dives into the meaning behind each song, he kept most of his stories light and genuinely funny—like, laugh-out-loud funny. Some of the story highlights: the secret town in Alabama with no police. The time he stayed in a Prince-themed hotel with two connected bathrooms. His worst day ever—driving a beat-up white Beretta with no working AC from Memphis to Alabama in the dead heat of summer. And my personal favorite: his grandmother insisting on only buying “frat-free” foods (yes, she meant fat-free).

He had the whole crowd cracking up. And that’s something I love about him. Jason is able to hold grief and joy in the same hand. He’s written some of the most emotional songs I’ve ever heard, but onstage, he’ll hit you with a one-liner that makes you laugh so hard you nearly fall out of your seat. There’s such comfort in that. He’s human. He’s real. There’s no persona, just Jason.

This weekend felt especially personal for me. Some of you know that I’m on the autism spectrum, and Jason’s music has been my biggest special interest for the last few years. I don’t just like his songs. I study them. I live in them. I know every chord, every lyric, every shift in vocal tone. I found his music when I needed it the most—when the world felt confusing and overwhelming—and it’s brought me a sense of calm and clarity I hadn’t found elsewhere. I genuinely believe music can be medicine. And Jason’s has been that for me.

One of the most emotional moments came during Thursday’s encore, when he brought out David Rawlings and they played “Pancho and Lefty.” Jason recorded a haunting version of this Townes Van Zandt song back in 2013. It’s always been a bit of a sacred track for me. I don’t play it all the time like I do with “24 Frames” or “Something More Than Free.” Instead, it’s the song I turn to when I’m anxious, overstimulated, or just need something soothing. As soon as I hear that first guitar note and Jason’s voice, it’s like my body starts to relax. Like someone wrapping me in a warm blanket and telling me it’s okay to just be.

So when I heard the first few strums of that song in the encore, I froze. I didn’t cry. I didn’t cheer. I just sat there, stunned, jaw slightly open, and took it all in. In that moment, it didn’t feel like I was one of 4,500 people in a venue. It felt like Jason and Rawlings were sitting in my living room playing my comfort song directly to me.

Another moment that hit in a similar way was when Jason played “Chaos and Clothes,” a deep cut from The Nashville Sound. That track, in particular, has always felt like balm to the soul. I never thought I’d get to hear it live, and when he started singing it, I felt myself melt into the seat.

Over the course of those three nights, he played 20 songs I had never heard live before. That’s huge for a fan like me who’s already seen him multiple times. Songs from the Drive-By Truckers era like “Danko/Manuel” and “Outfit,” or older solo tracks like “If It Takes a Lifetime,” felt like rare treasures. Even familiar songs like “Traveling Alone,” “Alabama Pines,” and “Middle of the Morning” took on a whole new energy in this stripped-down solo format. I was floored.

And the encores with David Rawlings? Absolutely stunning. Their chemistry was so natural. The way they played off each other on guitar was mesmerizing, and Rawlings’ voice gave me chills. I’d known his name, but now I’m fully converted into a fan. Watching him perform with such joy—this huge, genuine smile that never left his face—was a highlight in itself. He and Gillian Welch released an album in August 2024 called Woodland, and it’s already become a favorite of mine.

When I think about everything Jason’s music has done for me, it’s honestly overwhelming. Without his songs, I don’t think I’d have this blog. I don’t think I’d have started my radio show. I might never have fallen in love with Nashville the way I have. So many of the people I’ve interviewed or connected with—so many of the friendships I’ve made—trace back to discovering his work. His music is the through-line of my early 20s. It’s helped me process life, loss, identity, the South, love, change, and everything in between.

I hadn’t originally planned on going to Saturday’s show. I had tickets for Thursday and Friday with friends and figured that would be enough. But after those two nights, I couldn’t shake the feeling that I needed to see it one more time. I found a last-minute ticket and went solo, and it ended up being my favorite night. I had a lower-level seat, right up close, and soaked in every detail. The setup of the stage. The taps of Jason’s boots. The strums of his guitar. I felt completely immersed. It was quiet and sacred and everything I needed.

After the show ended, I lingered by the stage hoping to grab a setlist. I didn’t get one, but I did catch one of Jason’s guitar picks, handed to me by his tech. It was this small, unexpected gift at the end of a perfect weekend. And I’ll treasure it forever.

These three nights meant everything to me. I laughed. I reflected. I cried. I healed. It felt like my own personal version of Eat, Pray, Love, except through song. I’m just so grateful that I found Jason’s music—and that he continues to share it with all of us. These shows reminded me why I love music so much. Why I write. Why I care. Why I feel.

And I’ll carry that feeling with me always.

If you’re a listener of my show, a follower on my social media, or we’ve had a conversation, chances are you’ve heard me mention Jason Isbell. I’ve seen many musicians live, but there’s something uniquely powerful about Isbell and his band that resonates deeply with me. I don’t often open up about my personal life, but I want to share this story as a testament to the transformative power of music.

In the summer of 2021, I was 20 years old and preparing to begin my junior year of college. My parents had recently moved out of state, and I was struggling to find my footing in a post-lockdown world, grappling with feelings of loneliness and the challenge of fitting in. During this time, I was expanding my music taste, venturing into genres like Americana and folk. One name kept surfacing: Jason Isbell.

I first heard about him from the frontman of one of my new favorite bands, American Aquarium, who spoke about Isbell as both an influence and collaborator. I began to see ads for his shows pop up online, and I even heard his name mentioned in passing conversations. Although I’d heard Isbell’s name in the context of country music—which I wasn’t particularly interested in at the time—it now felt inescapable.

One day, while at school, I decided it was finally time to give him a listen. I pulled up his most popular song on Spotify, "If We Were Vampires." As soon as that haunting guitar line hit and Isbell’s vocals poured through my headphones, I was covered in goosebumps. I usually have music playing in the background while I work, but this time, I stopped everything to absorb every word. The lyrics, the emotion, the raw beauty of that song—it was all overwhelming.

From that moment on, I was hooked. Each song that followed felt like it was meant to be there, soothing my nerves and helping me navigate the uncertainty I was experiencing. Isbell’s guitar riffs and poignant storytelling became the soundtrack to my everyday life, and I’ve been a dedicated fan ever since.

This time in my life was not easy. I didn’t have the typical college social experience; I struggled to fit in. I tried joining social clubs and campus activities but still felt out of place. This was my first time living in a different state from my parents, and as someone with high-functioning autism, the social dynamics and changes were particularly challenging. Music has always been my greatest comfort, often acting as my “special interest.” When I connect with an artist, I dive into everything they’ve released, watch their videos on YouTube, and read any articles I can find.

During those difficult days, I found solace in watching Isbell's concerts, reading interviews, and discovering his earlier work with the Southern rock legends, The Drive-By Truckers.

I also face processing challenges; I often need to read the same page of a book multiple times to grasp the content, watch movies with subtitles, and struggle to group topics for reflection papers in college. Even after hearing a song a hundred times, I can’t always articulate its meaning. But with Isbell, something clicked.

His songwriting paints vivid pictures in my mind. I can visualize the stories he tells, and for the first time, I was able to connect with lyrics on a deeper level. One song that stands out is "Last of My Kind" from The 400 Unit's 2017 record, The Nashville Sound, which centers around themes of anxiety and social change. The narrator asks the question, “Am I the Last of My Kind?” He reflects on the differences he feels between this new city and his home, noting how he can’t dance like the locals, the scenery feels foreign, and he is often laughed at. Although Isbell has mentioned certain dramatic elements in the song that I did not experience, the core message of feeling like an outcast really resonated with me.

I was in a college town filled with people I struggled to connect with; many of my peers didn’t understand my interests or my Southern mannerisms, leaving me to feel like I was the last of my kind. Despite the differences in our backgrounds, Isbell’s words felt deeply relatable.

Almost two years since I graduated with my Bachelor’s degree, I’ve been soundtracked by Isbell’s music since I first listened in my junior year. I’ve seen him live five times, and during my senior year, I had the incredible opportunity to intern remotely with his music management and distributor, Thirty Tigers. My favorite Isbell memories are from his fall residency at the Ryman Auditorium in Nashville. Each year, he plays for eight nights in October, with shows that differ from the typical 400 Unit setlists, as fans travel from all over to see him perform.

For the past two years, I’ve made the trip from Mississippi to Nashville for these shows, and this past week, I had the privilege of attending the opening night of the residency. Overcome with emotions, I realized I was no longer the confused and sad person I had been in 2021. I am now a second-year master’s student attending a school I love, a DJ sharing my passion for music each week, and this time I even brought two friends along to share this experience with me.

During the show, I couldn’t help but cry while listening to my favorite songs and witnessing the incredible musicians accompanying Isbell: Sadler Vaden on guitar, Chad Gamble and Will Johnson on drums, Derry DeBorja on keys, and Anna Butterss on bass. I even had the chance to talk with one of Isbell’s crew members about my journey, feeling content and grateful to have found music that resonates so deeply with me.

As I look ahead, I am filled with excitement for the future. I hope to attend many more shows and, one day, have the opportunity to shake Jason’s hand and express my heartfelt gratitude. Isbell’s artistry has not only shaped my taste but has also played an essential role in helping me understand myself and my place in the world. Here’s to many more years of inspiration and connection through the magic of music.