As with his albums, whether solo or with The 400 Unit, an abiding impression of Jason Isbell’s shows has been one of a continuing story. Obviously any show is going to contain a mix of old and new but somehow Isbell blends his setlist with particular care. Favourites from “Southeastern”, now a decade old, set the scene for the newer songs that feel like subsequent chapters. This show was no exception with last year’s release “Weathervanes” featuring extensively, its focus towards the world seen directly through Isbell’s eyes as well as through the vivid characters he creates. The result, as performed tonight by Isbell and his first rate band left this reviewer yet again feeling a profound sense of great satisfaction. There can be few shows that leave the audience as absorbed and rewarded as those by Jason Isbell and The 400 Unit.
Taking the stage in his typically low key way, Isbell waved to the crowd. He was clearly among friends as he and the band looked relaxed and ready to go for the last night of their UK tour. “Weathervanes” dominated the set, ‘Save The World’ was a perfect opener, a gentle cascade of notes leading into the deceptively trivial aside, “I left my wallet in the hotel room” to the horror of learning that “somebody shot up a classroom again.” Matching his lyrics he and the band turned up the emotion, reflecting the fear and anger at such tragedy. Staying with pain,‘King of Oklahoma’ turned to lives unravelling through pill addiction and crime. Guitarist Sadler Vaden paced stage right before he and Isbell moved towards each other swapping guitar licks with an ease that contrasted with the tension of the song’s story.
The sound was perfect and the lighting matched the mood as this polished rock performance gathered momentum. But this is where Isbell’s performative genius kicks in. From rock band cruising along, he changed the vibe completely. Strapping on his acoustic guitar he went into ‘Strawberry Woman’ accompanied by accordion from keys player Derry deBorja that built up to a crescendo with all members of the band joining in. Isbell then left the new album for ‘Traveling Alone’ taking his show further into his world, this time with the driver, alone and exhausted on his journey. A London crowd sang along but how many there pondered what “Ybor City on a Friday night” must be like?
These more intimate moments had every bit as much power as The 400 Unit going at full tilt. After ‘Volunteer’, ‘Alabama Pines’ and the desperate ‘Elephant’, Isbell’s desolate American soundscapes totally dominated. As many will testify, Isbell solo is no less a show to make a deep emotional impression than performing with his full band. Here he blended both, often starting alone while others softly joined in. Bassist Anna Butterss switched to her double bass to add acoustic resonance to these quieter songs. From his earlier writing that sense of a new chapter returned with ‘Death Wish’ from “Weathervanes”. New to Isbell’s band is Will Johnson, a prolific artist in his own right whose drumming here added even further depth. “Did you ever love a woman with a death wish?” Does Isbell interpret the chaotic world of those with nothing left with perhaps more space than he might have done previously?
There was only dip into “Reunions’”where Isbell and Vaden took full advantage of the echoing ‘Overseas’ whose waves of sound reach every corner of this fine venue. Similarly there was only one from “The Nashville Sound”, an impeccable ‘If We Were Vampires’. Isbell stood beneath the keyboard raiser looking like a busker, the reminder of our mortality “likely one of us will have to spend some days alone/maybe we’ll get forty years together,” as stark as the beams of light shooting upwards.
If Isbell looked death in the eye there, then he and his band lived every minute of ‘Miles’ as if they were their last. He and Vaden stood off against each other, guitars like weapons ready for the duel. And what a battle, neither giving sonic ground in a display of raw guitar heroism. There could be only one way to come down from that high which was right back to “Southeastern” and ‘Cover Me Up’. The sense of confessional was underlined at the warm applause for “In Richmond on high/ I sobered up/ And I swore off that stuff”. Chad Gamble’s drumbeat hammered home that resolve.
Isbell said relatively little between songs. He did not name a single one but then he did not have to, the sincerity in the way he thanked his audience was enough. At least twice Isbell introduced his band with deep gratitude for their contribution. He thanked support S.G. Goodman who opened the show with her fine blend of americana and he offered profuse thanks to his road crew for everything from the sound to the admin of touring. If this wasn’t enough to prove what a decent guy Jason Isbell is then his swift stop to the first encore then departure from the stage to allow staff light and room in dealing with an an emergency in the audience was impressive.
That encore was ’24 Frames’ leading into the reflective ‘Cast Iron Skillet’ before closing with the evening’s finest jamming on ‘This Ain’t It’. Isbell described it as “post Southern rock” but the way he and Vaden played evoked one of southern rock’s greatest moments,that of The Allman Brothers Band’s ‘Mountain Jam’. Perhaps reflecting his love of The Who, Vaden’s windmill arm looked perfectly at home in the Hammy Odeon. Isbell just grinned widely. As did everyone else there at this truly outstanding performance.
A great show . I saw him at the Cadogan hall on his own and he was just as good.
I was also at both.
Cadogan Hall was a master class in giving an amazing performance when probably he should have been in front of a fire with something medicinal. Figuratively speaking of course.
Hammersmith was epic. Even though he didn’t play my favourites there was still something to cover every aspect – rock, singalong, reflective.
Great review – thank you. I got to see him at Cain’s Ballroom in Tulsa and it was a superb show.
Jason and the band were terrific , I was at the show the night before in Stockton. He stopped for an emergency that night too ( and lambasted the organisers for an unnecessary crowd barrier). Varying the semi acoustic numbers with the full on rock band worked brilliantly. His songs have lines that reach you emotionally. We all cheered at ” sobered up. And I swore off that stuff”
Excellent review of an outstanding performance. Isbell found the balance between out-and-out rock ‘n’ roll and quieter moments, such as ‘Elephant,’ perfectly.