Southeastern

Album review

Jason Isbell released his first solo record not long after parting ways with the Drive-By Truckers and quickly settled into a groove with his band, the 400 Unit, releasing two well-received albums and winning Song of the Year at the 2012 Americana Music Awards for "Alabama Pines." But his fourth solo record, Southeastern—the first released under his own name—is even more stunning. Produced by Dave Cobb and released in the wake of Isbell getting sober, the landmark modern Americana album feels like a collection of short stories populated by vibrant, deeply human characters grappling with challenging life experiences.

"Elephant" is a striking song about the complicated emotions that crop up with a friend dying from cancer; "Songs That She Sang In The Shower" features someone in a dark mental space haunted by the memory of an ex's presence; and "Yvette" is from the perspective of a teenage boy ready to protect a classmate from abuse. And the stark "Traveling Alone" on which Isbell's wife Amanda Shires contributes solemn fiddle and vocals, focuses on a narrator who's weary of his own behaviors (and past) and is looking for a fresh start.

Isbell's strident guitars cut to the emotional quick throughout, whether hewing toward delicate folk-rock or his trademark Southern rock roar. However, he also cut many of his vocals in one take, which gives Southeastern a feeling of raw immediacy that's matched by Cobb's warm production. But in a nod to one of the album's thematic undercurrents—searching for connection and community wherever you can—Isbell surrounds himself with guest musicians. Will Johnson's vocals enrich the barnstorming "Super 8," while Kim Richey appears on two songs, including the waltzing folk number "Stockholm." Isbell's 400 Unit bandmates Chad Gamble and Derry deBorja add drums and keyboards (respectively). An expanded 2023 version of Southeastern contains demos and live tracks (and is also newly in hi-res), which amplifies the nuances of the songwriting. A decade-plus on, the album remains one of Isbell's finest—and most vulnerable—moments. © Annie Zaleski/Qobuz