Live Review: Jason Isbell and the 400 Unit with Iris Dement at the Ryman Auditorium in Nashville, 10/18/24 (night six)

Nashville’s famed Ryman Auditorium, opened way back in 1892 as the Union Gospel Tabernacle. From 1943 to 1974, The Ryman was home to The Grand Ole Opry, with performances from such legends as Bill Monroe, Hank Williams, The Carter Sisters, Johnny Cash, Elvis Presley, Patsy Cline, and many more. Often called “The Mother Church of Country Music” and “The Birthplace of Bluegrass,” this shrine adds a heaping amount of history and culture to every artist who performs there. The original wooden pews offer a reminder of a spiritual past.

On night six of Jason Isbell and the 400 Unit‘s eight-day annual residency at The Ryman, the gods were truly smiling. As the house lights lowered, strains of “Don’t Look Back In Anger” by Oasis filled the hall. Shortly thereafter, the band took the stage on an optimistic note with “Hope The High Road” from 2017 and the lyrics, “Last year was a son of a bitch / For nearly everyone we know / But I ain’t fighting with you down in a ditch / I’ll meet you up here on the road.” Isbell later added, “Be sure and vote. If you think politics don’t affect you, just wait.”

Along with Isbell is right-hand-man and veteran gunslinger Sadler Vaden, who himself is building a solid solo career. Check out his recent album Dad Rock for some excellent sounds. Australia native Anna Butterss is along on bass, former Son Volter Derry deBorja on keyboards and accordian, Chad Gamble on drums, and Will Johnson on guitar, percussion, and whatever else is needed. Pretty much the whole crew added backing vocals throughout the night. The band played six from last year’s release, the Grammy Award winning Weathervanes, which garnered critical and commercial success. Isbell reached back to some of his best solo work from Southeastern and Something More Than Free.

Isbell doesn’t shy away from cover songs, either. Besides singing “Happy Birthday” to a fan, the band delivered their terrific version of The Cure‘s “Just Like Heaven,” underscoring his desire not to be pigeonholed as a typical country singer. His writing and world view prevent that assumption from ever happening. “Last of My Kind” accentuates that mindset when Isbell sings, “Old men sleeping on the filthy ground / They spend their whole day just walking around / Nobody else here seems to care / They walk right past them like they ain’t even there.” While he didn’t tell fans how to vote, you know how he votes.

The epic “Miles” seems to have predicted the coming tide of marital complications caused by recent emotional and physical distances. Isbell also sings of a distancing between father and daughter, “She’ll be driving in the fall / And we’ll sit up waiting on the call / As she leaves, I’ll tell her don’t get hurt and don’t get pregnant, but / She won’t acknowledge me at all.” Sounds like a normal family doing their best to get through this life. Traditional closing tune “Cover Me Up” is the artist’s calling card and the soundtrack defining his successful journey to conquer alcoholism. It’s an emotional song – every time – and gets an extra boost of cheers for the line, “I sobered up, I swore off that stuff / Forever this time.”

Fast forward to the encore, where the band covered R.E.M.’s hit “Losing My Religion.” Every night of this eight-date residency the band covers an R.E.M. song. A crowd favorite was the Drive-By Truckers track “Danko/Manuel,” Isbell’s song when he was with that band. It’s a sad tale written about the end of The Band as depicted in The Last Waltz. A wonderfully beautiful and heartbreaking story. Closer “This Ain’t It” is a rousing tune about a father stepping up before his daughter’s special day to let her know she did not have his blessing. It includes one of the best Isbell opening lines, “Baby, how’d you end up here / In a Texas town in a wedding gown / With a near beer?” Breaking from the lyrics, the band jumps headfirst into a Southern rock, Allman Brothersesque jam, and it was a wonderful thing.

Fans were treated to Iris Dement as the opener. She brought her traditional folk, country, and gospel stylings to the already divine Ryman Auditorium. Born in Arkansas, Dement was the youngest of 14 children possibly creating the impetus for her to stand out and be heard. Whatever the reason, Dement consecrated the Ryman, setting it up for the perfect spike from Isbell.

Dement also mentioned the election, simply saying, “Vote for love over hate.” She also expressed sorrow and support for Russian opposition leader Alexei Navalny and his untimely death in February. Her voice is reminiscent of the Appalachia sound, though she has called Arkansas, Kansas, and Iowa home for the past several decades. She created a special night in a special place. Check out her latest release, Workin’ On A World.