With Special Guest Amanda Shires
Southeastern is not a record Jason has made before, and not simply because the glorious storm and drama of his band, the 400 Unit, is absent. They will tour together; it's not a breakup record, not an album of dissolving, but, rather, songs of discovery. And not at all afraid, not even amid the tears.
Which is to say that he has grown up.
That it has been a dozen years since he showed up at a party and left in the Drive-By
Truckers' van with two travel days to learn their songs. And then taught them some of his
songs in the bargain. Jason Isbell's solo career has seemed equally effortless, from Sirens of the Ditch (2007) to Jason Isbell & The 400 Unit (2009), through Here We Rest (2011) and last year's Live From Alabama. Loud records, unrepentantly southern, resplendent with careful songwriting. Songs which inspire and intimidate other musicians, and critics
The quote may be borrowed, and the emotional terrain of the songs universally relatable, but Shires' voice is distinctly her own. Her Texas twang and fetching vibrato ("less goat, more note!" she teases herself with a laugh) can dance playfully around a melody or haunt a line like a mournful ghost, and she deftly employs her fiddle/violin, ukulele and even whistling skills to similar effect. The resulting sound is a beautiful but woozily surrealistic swoon — as well befits an artist who cites Leonard Cohen and alt-country dark horse Richard Buckner as two of her biggest musical influences. Or, as a review in Americana UK once observed: "At times, her energetic, jittery vocals and eccentric lyrical subjects mark her out as a young female heir to the godfather of strange, Tom Waits. In her more conventional moments, Shires sounds like the weird young niece of Dolly Parton."
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