PERFORMANCES & TICKETS
Jason Isbell and the 400 Unit
Friday, September 15, 7:00 p.m.
TICKETS: Reserved $53 | Premium Lawn Blankets $224 (4-person) / $112 (2-person) | Lawn $41 | Child (1-12) Lawn $31
GATES OPEN: @ 5:45 Early Entry | 6:00 General Public
New This Year: Print Tickets at Home or Use Your Phone!
Jason Isbell and the 400 Unit's new album, The Nashville Sound, is a beautiful piece of American music-making, but watch yourself: it will light a fire under your ass. "You're still breathing, it's not too late," Jason sings.
This album is a call, and the songs on it send sparks flying into a culture that's already running so hot the needle on the temperature gauge is bouncing erratically in the red.
It's a call to those who won't cower no matter how erratically the world turns, and who aren't afraid of what looks back when they look in the mirror. Bruce Springsteen did that. Neil Young did that. Jason Isbell does that.
For the first time since 2011's Here We Rest, Isbell's band, the 400 Unit, gets title billing. "Even when I was writing, I could always hear the band's stamp on the finished product," Jason says. "These songs needed more collaboration on the arrangements to make them work, and I felt like the band deserved it after the way they played."
And boy, there's nothing like a 400 Unit show. Not just because the band smokes, but also because Isbell's fans are among music's most ardent. They listen to these songs for months and months on their own, and that momentum rolls them right up to the doors at the Ryman Auditorium in Nashville, or the Beacon Theatre in New York or the Fabulous Fox Theatre in Atlanta. And when the band kicks in, they are ecstatic. It's a rock 'n' roll show that feels like fellowship.
Guest Artist: Frank Turner & the Sleeping Souls
Frank Turner is aware of the passage of time, of the influence of days that drag and months that gallop can exert on what he would probably never dream of calling his body of work. After all, it has been a number of years now since the hardcore troubadour transformed himself from The Boy Who Surely Could Not, to The Man That Did;
it has been years now that his name has appeared in the largest type on ticket stubs that permit entry to such venues as Wembley Arena, or the Royal Albert Hall; just as it has been years since the sound of his voice projecting itself from a digital radio was anything like a surprise, let alone a novelty.
From the ferocious, sweaty box venues of rock band Million Dead to starting from scratch with an acoustic guitar in pubs and bedrooms in 2005, Frank’s popularity grew with his artistry. Selling out gradually bigger venues – Camden’s Barfly, King’s Cross Scala, Shepherd’s Bush Empire and Wembley Arena (both captured for posterity on DVD); four albums in England Keep My Bones ends up selling 100K copies and rising; performing in front of millions worldwide before the official opening ceremony of London 2012 Olympics; a personal milestone of winning Mastermind with his specialist subject of Iron Maiden. Each year seemed to bring a new elevation, a plateau which initially seemed out of reach but just became a foothold for ascending further.
Naturally, such upward mobility provides reasons to be cheerful, and in ways that it would be lazy to term predictable. But at the same time, the mindful songwriter will take heed: for in order to gain a foothold one can subconsciously lose an edge. The last couple of years shows he's resolutely refused to let that budge him from an onward course.
Pre-concert music: No Pardon
Begins in the Britt Performance Garden at 6:00 p.m.