A Show for the Ages: Jason Isbell and Band of Horses in Birmingham

Birmingham, AL – June 28, 2025

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!!!