Jason Isbell & The 400 Unit, Shemekia Copeland Live Show Review: 9/22, The Salt Shed, Chicago
BY JORDAN MAINZER
“You don’t open with this one!!!” screamed a fan as Jason Isbell sang the words, “This is how you make yourself vanish into nothing,” the opening lines to Something More Than Free classic “24 Frames”. He had a point. Isbell’s songs are often so emotional that audience members seeing him live feel like they need to be primed into the devastation, instead slowly taking in the chops of his backing band The 400 Unit (guitarist Sadler Vaden, bassist Jimbo Hart, keyboardist Derry deBorja, drummer Chad Gamble). But continuing from his best songs with Drive-By Truckers, Isbell’s last four records (not counting his 2021 covers album Georgia Blue) effectively combine tales of personal triumph with pleas for sociopolitical empathy, and launching right into his most Springsteenian song is straight up fitting at this point.
Best, the instrumentation Thursday at the Salt Shed was still dynamic. Isbell himself is a terrific guitarist, able to rip a blues solo with the best of them on “Something More Than Free” and the Truckers’ “Decoration Day”. Vaden’s electric playing sounded infinitely expansive on “Last of My Kind”, gentle and limber on a self-described “hillbilly style” version of “Tour of Duty”. Gamble swayed between similarly subtle on “Overseas”, thumping and forceful on “Super 8″. deBorja added stadium-sized depth to Southeastern’s biggest tearjerkers, “Cover Me Up” and “Elephant”. Hart, rather than Gamble, was the true backbone, buoying the band when they blasted out from already rollicking song structures on “Hope The High Road” and a Vaden-led cover of Drivin N Cryin’s “Honeysuckle Blue”.
Ultimately, though, Isbell’s most timely tune--and his most explicit foray into heartland rock--is “Be Afraid”, a song that grapples with the importance of country artists specifically speaking out against inequality and other social ills. “We won’t shut up and sing,” he declares, referencing the country music industry and conservative media backlash over The Chicks’ Natalie Maines speaking out against George W. Bush and the Iraq War. The song also harked back a mere hour, to the night’s opener Shemekia Copeland. Before launching into “Pink Turns to Red”, a pro-gun control song from her new album Done Come Too Far (Alligator), Copeland said, “When shit is messed up, we talk about it...At this age, I don’t stray from controversy.”
Copeland and Isbell are collaborators, the latter playing on the former’s most recent album, but they’re also similar in their ethos. Copeland still writes some songs like popular infidelity pre-revenge tale “It’s 2 A.M.”, but on Done Come Too Far, she continues the spirit of 2018′s America’s Child, prayers for a better world. There are modern day Civil Rights anthems, searing laments about conversations Black parents have with their kids about growing up Black in a world of police racism and brutality, and the continuing struggles for liberty. A song like her new album’s title track fits right alongside Copeland stalwarts like “Ghetto Child”. While the studio version highlights a duet with Cedric Burnside, it didn’t lose it’s slinky wah wahs live, Ken ‘Willie’ Scandlyn busting out yearning solo after solo. Copeland also revealed that Done Come Too Far came out the same day her mom passed away, and she appropriately played “Nobody But You”, a song written by her father Johnny about her mother. Best, though, was “Barefoot in Heaven”, a song she does “cuz it makes me feel good.” A relaxed gospel strut, it sees Copeland imagining--yes--walking through heaven barefoot, rubbing elbows with Sister Rosetta Tharpe, taking it all in. For all of her struggles, that scene is, truly, something more than free.
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So I happened upon this beautiful post today and with the gift of hindsight, the caption is SENDING me Spielz... Oh how far we've come
That one is from April 2020...
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