Last month, I had the pleasure of attending the first weekend of Jason Isbell’s 2026 Ryman Residency. This marked the 11th year of the residency and my fourth year attending.
My first Ryman show was in 2023, when the band surprised everyone by performing Southeastern in full for the album’s tenth anniversary. That night set the Ryman bar incredibly high, and I’ve made the trip to Nashville every year since. In previous years, however, I had only attended one night of the residency. For those unfamiliar with how these shows work, Isbell and the 400 Unit typically perform two consecutive weekends, Thursday through Saturday. I’ve always dreamed of experiencing an entire weekend run, and this year, that dream finally came true. As someone who has attended over 20 Isbell shows, I can confidently say there is nothing quite like the Ryman residency. I’ve described it in the past as a homecoming for the band. Many of the people in attendance aren’t even from Nashville. They’re fans who have made a pilgrimage to see the 400 Unit perform at the Mother Church of Country Music, and that shared excitement adds something special to the experience.
Night One: An immersive experience
The first show of the run took place on October 15, and it was particularly special for me because, for the first time, I experienced the Ryman from the folding chairs. For those unfamiliar with the venue, these are the first two rows closest to the stage and the only seats, aside from accessible seating, that aren’t traditional pews. I’ve been up front for Isbell shows before, including at ShoalsFest, where I’ve watched the band from the rail. But something about this particular show felt more immersive than anything I’d experienced before. Maybe it was the extra room to move around instead of being packed into a pit like sardines. Whatever the reason, I felt completely locked into the music.
The opening night’s setlist was fantastic. Right off the bat, the band launched into “Miles,” a song usually reserved for the end of the show. Starting the evening with Will Johnson’s epic gong hit set the tone for what would be a wonderful night. I might even prefer “Miles” as an opener. They kept the energy high by launching straight into “Super 8.” I will never tire of the bombastic drum sounds Chad Gamble produces at the beginning of that song live. Then Jason and Sadler’s guitars kick in, and the crowd erupts into cheers, claps, and head nods.
My favorite part of night one, however, was the encore. Every year at the Ryman, the 400 Unit selects a band to pay tribute to, performing a different cover during each night’s encore. This has quickly become one of my favorite parts of the residency because you never know what they’ll choose. Last year, it was The Band. The year before, R.E.M. Leading up to Thursday’s show, I had spent the entire week theorizing about who they might cover next. My guesses included Dolly Parton and possibly Todd Snider. Then came encore time. The guitars started, and at first, I was confused. I didn’t recognize what they were playing. But a few moments later, it clicked.
It was “When My Baby’s Beside Me” by Big Star. This was an especially interesting choice because the band had previously recorded the song for their 2009 self-titled album. I truly never thought I’d get to hear them perform it live, and I was overwhelmed just taking it all in. Following the cover, the band launched into “This Ain’t It,” which has become an encore staple, before closing the show with my favorite song, “King of Oklahoma.” When that song comes on, I genuinely cannot contain my enthusiasm. It pours out of me. I’m incapable of hearing this song without stimming, dancing, and belting out every single word. It was the perfect closer to an already magical first night on the Ryman floor.
Night Two: Collective Crowd Joy
Friday’s set kicked off with “Dreamsicle,” followed by “Children of Children.” By the third song, “Hope the High Road,” I could already sense that this was going to be a special show. What made this night so memorable was the crowd. The energy was palpable. Everywhere I looked, people were standing, singing, and smiling. I feel like it’s increasingly rare to experience a crowd so completely locked into a concert, giving their full attention to the music.
This show was different because you could feel the communal love and appreciation for what was happening on stage. Nothing makes me feel more alive and revitalized than experiencing that kind of collective musical joy at a concert. I broke out in goosebumps several times throughout the evening, simply taking in the energy radiating from the crowd. During “Traveling Alone,” tears started to flow down my cheeks because the people around me were singing along so loudly, couples were swaying together, and I was overcome with gratitude that I was there, sharing this core memory with so many others. Another highlight came when the band surprised us with “Cumberland Gap,” a song I’d been dreaming of hearing live for years. As soon as it started, I was practically jumping out of my seat. It’s such a fantastic song to rock out to and belt along with, and Jason’s vocals sounded absolutely stellar.
But the surprises weren’t over.
Friday’s encore took a little longer than usual to begin. The guitar techs kept moving equipment around the stage, and I had a feeling we were in for something special. When the band finally returned, every member picked up an acoustic guitar and they started playing Big Star’s “I’m in Love with a Girl.” Watching everyone play together was such a precious moment. Seeing members like Chad Gamble and Derry deBorja, who don’t typically play guitar in the band, join in on acoustics made me melt, and Jason’s voice suited the song beautifully. These shows are no-video performances, so I’ve been replaying the mental recording of that moment over and over again. The whole thing felt ethereal and completely unexpected. I watched with the biggest smile on my face.
And after that, things got even better when the band busted out Fleetwood Mac’s “Oh Well.” And it was absolutely FACE-MELTING! This was a song that had been in the band’s heavy rotation years ago but hadn’t made an appearance in quite some time. It certainly wasn’t on my bingo card for the weekend, but I was beyond thrilled to hear it. Between the crowd’s incredible energy, the unexpected songs, and that unforgettable encore, Friday became one of the most special 400 Unit shows I’ve ever attended. I couldn’t imagine how Saturday could possibly top it.
Night Three: A Dream Come True
By Saturday, I was already feeling incredibly grateful for the weekend I’d experienced. Two unforgettable shows were behind me, but I still had one more night at the Mother Church. The final night began with “Bury Me,” a solo Isbell track from Foxes in the Snow. The full-band arrangement transforms the song into a bluegrass-style tune, and it’s always a joy to watch. I especially love watching Anna Butterss on upright bass and Sadler Vaden on mandolin during this song. Personally, I love me some mandolin, so I get excited whenever it makes an appearance. And Saturday turned out to be a mandolin double feature!
A few songs later in the set, the band performed the Drive-By Truckers song “TVA.” This was my first time hearing the 400 Unit perform the song, and the arrangement was unlike anything I’d heard before. Rather than playing guitar, Sadler took up the mandolin, giving the song an absolutely beautiful new dimension. The only other time I’d heard “TVA” live was at ShoalsFest with the Drive-By Truckers. I really hope this arrangement makes its way into future shows because I would love to hear it again.
Saturday also featured a particularly meaningful performance of “Wind Behind the Rain,” the closing track from Foxes in the Snow. This marked the first time the song had been performed with the full band and only its second live performance ever. Before playing it, Jason shared the story behind the song, explaining that he’d written and performed it for his brother and sister-in-law’s wedding. The only previous live performance of this song had taken place at Jason’s solo show at the Pinnacle in Nashville the year before, which I had also attended. Hearing the song again, this time with the entire band, was a sweet thing to witness.
But nothing could have prepared me for what happened during Saturday’s encore.
One of my favorite songs of all time is Big Star’s “Thirteen.” For years, it has been a comfort song of mine. If I’m having a hard day, struggling to fall asleep, or simply need to calm down, “Thirteen” is one of the first songs I turn to. I think it’s one of the most stunning songs ever written. As soon as I realized Big Star was the theme for this year’s Ryman covers, I had one wish: to hear Jason sing “Thirteen.” This residency spanned six nights, and Saturday was the third and final night I would be attending. This was my last chance. And during the encore that night, my dream came true. I had positioned myself right up front, directly in front of the speaker on Sadler’s side of the stage. The lights were dim, and we were waiting for the encore to begin. The band walked back out. Everyone cheered. Instruments started getting tuned.
And then it happened. The first chord of “Thirteen” vibrated out of Jason’s guitar. I recognized it immediately, and I was so shocked that I almost fell to the floor. I stood there frozen, my jaw dropped, tears streaming down my face for much of the song. I remember sitting in my car a couple of years ago, listening to “Thirteen” and thinking, “Wow, could you imagine if Jason covered this? Wouldn’t that sound amazing?” I could imagine it so perfectly then, and now, there it was, unfolding right in front of my eyes, with me standing just feet away.
“Thirteen” is one of those songs I carry deep in my heart, and Jason’s voice makes me feel something that no other music quite does. Hearing the two come together was truly a match made in heaven for me. It was, without a doubt, the most special and personal moment of the entire weekend, and I still have to pinch myself when I think about it. It was the perfect ending to a perfect weekend.
A Bittersweet Farewell
Anna Butterss at Shoalsfest 2025
Seeing Jason Isbell and the 400 Unit perform three nights in a row at the Mother Church is truly a religious experience. Each show is different. Each night brings something unexpected. And even after more than 20 performances, this band continues to surprise me and remind me why I fell in love with their music in the first place. While working on this piece, I learned that these shows carried an additional significance I hadn’t realized at the time.
Following the residency, Anna Butterss announced on Instagram that the Ryman performances marked their final shows with the 400 Unit as they move on to their next musical chapter. Most of the 400 Unit shows I’ve attended have featured Anna on bass, and they’ve been an incredible addition to the band.
One of my favorite little moments from the weekend happened during Thursday’s show, when I was sitting in the front row. At one point, Anna and I locked eyes. I waved excitedly, and they smiled and mouthed “hi” back to me. It was such a small interaction, but it made me so happy. Knowing now that these were their final performances with the band makes that memory, and the entire weekend, even more meaningful.
Last year, I had the honor of interviewing Anna for Undefined. For those who might not know, Anna’s musical world is much vaster than their work in the 400 Unit. Not only are they an extremely accomplished bass player, they are also a composer. When I interviewed Anna, we talked about their improvising jazz quintet, SML. Since our chat last year, SML released their second album, How You’ve Been, and a live record, Spontaneous Music Live. SML has gained a lot of traction this last year; they recently played Big Ears Festival in Knoxville, TN. In addition to that project, Butterss was also a touring member of Flea’s Honora Band, which recently appeared on NPR’s Tiny Desk.
Those are just a couple of recent projects they have worked on. Anna is a true talent, and it makes me so happy and proud to see them get these amazing creative opportunities. I will really miss them in the 400 Unit, but I know I will be seeing them onstage again soon and I’m so proud of the amazing work they have done.
Me and Anna after the 400 Unit show in Birmingham last year, was so grateful to have met them in person.
The Ryman has become something I look forward to every year, almost like my own personal holiday weekend. Going to three nights in a row reminded me of all the reasons I love this band. Every gong hit, every guitar riff, every time the crowd erupts during the “I swore off that stuff” line in “Cover Me Up.” Even though I’ve seen the band so many times that I could practically reenact certain moments from their shows, I still leave feeling like my heart has grown three sizes.
There’s something incredibly healing about this music and these performances. No matter how difficult school gets or what I’m going through, for two hours, it’s just me, the 400 Unit, and a theater full of like-minded people.
the 400 unit picking a different band to cover in the encores every year is such a fun tradition. and the whole band switching to acoustic guitars for the big star song on night two, even chad gamble and derry deborja, sounds so special
thanks for sharing this, especially loved hearing about your experience of Big Star's Thirteen. Beautiful! That would be my vote for the most perfectly crafted song ever.