jason isbell tour 2022 stockholm

Jason Isbell & the 400 Unit | Stockholm

Sun Nov 06 2022 at 07:00 pm to 11:30 pm

Stockholm Waterfront Congress Centre | Stockholm, ST

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Jason Isbell and The 400 Unit

10 years ago, Americana star Jason Isbell visited our capital in the song "Stockholm". Now he returns to the city with his band The 400 Unit. Isbell made his name in Americana heaven as a member of the Drive-By Truckers. But it was as a solo artist that he would truly emerge as an extraordinary performer with a rare knack for careful songwriting and storytelling.

Arenatorget 1

Johanneshov

Jason Isbell and the 400 Unit

Age limit 13

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No bags are allowed at this event.

Go see Jason Isbell and the 400 Unit at Annexet on November 8th!

Ten years ago, Americana star Jason Isbell sang about our capital in the song "Stockholm." Now, he returns to the city, bringing along his backing band, The 400 Unit. Supported by S.G. Goodman!

"In this frozen old city of silver and stone," sang Jason Isbell about Stockholm in the song of the same name. Appropriately, he returns to the city as winter approaches once again. Isbell made a name for himself in the Americana scene as a member of the Drive-By Truckers. However, it was as a solo artist that he truly emerged as an extraordinary talent, with a rare knack for meticulous songwriting and storytelling. Today, he stands as one of the most important and influential artists in contemporary Americana music.

Dates & times

• Friday 8 November 2024 19:30

Before the visit

Bag ban policy.

The police authority has introduced a total ban on bringing bags to major events.

Read more at Polismyndigheten .

Time schedule

We usually get holding times from the organizer a few days before the event. As soon as the times are confirmed, they will be published here! Please keep in mind that the nature of live events means that times are often approximate.

Getting here

Annexet is located in Johanneshov in south of Stockholm. Within easy walking distance there are six metro stations including Gullmarsplan - Stockholm's second largest hub for public transport with trams and buses.  Find your best itinerary Find your entrance and section

Eat & drink

How many kiosks and bars are open varies depending on the nature of the event. Specific offerings and opening hours are presented here closer to the event, but simpler food is always available. See general food and drink supply

Practical information

No bags, including small handbags, fanny packs, canvas bags and plastic bags, may be brought inside. It is also not permitted to bring umbrellas, bottles, system cameras, food and drinks into the arena.

Many visitors are expected and as the level of security is high, entry may take time. Please arrive in advance.

A safe event

You should feel safe and secure during the event. Read more about how we work to ensure a safe experience at our venues .

Is anything still uncertain you can find our most frequently asked questions in  our FAQ .  Along with the answers, of course!

Live is Life

Show us you were here. As it happened. LIVE! Tag  @stockholmlive   in your pictures from the event to share the experience with us!

About the event

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Jason Isbell and The 400 Unit

With adia victoria.

As one of his generation’s top singer-songwriters, Jason Isbell possesses a rare gift of perception that belies his relative youth. His insight into the human condition is hard-fought and well-earned. By honing his chops in the early aughts as one of three guitarists/songwriters in the seminal rock band, Drive-By Truckers, he emerged battered but wiser, successfully battling his demons and channeling his talents into a flourishing solo career. Along with stalwart backing band, the 400 Unit, Isbell can summon ghosts and visions from his North Alabama upbringing that ring with authenticity and rock with the ferocity of utter conviction. Like Springsteen with a southern twist, Isbell is a storyteller at once rooted in place and free to roam universal backroads, mend broken hearts, and, perhaps, beckon brighter futures. In October 2021, J ason Isbell and the 400 Unit released a special new covers album, Georgia Blue . Created to celebrate Georgia’s role in the 2020 election, the record consists of new versions of thirteen songs with ties to the state, including tracks originally recorded by Georgia natives R.E.M., Drivn’ N’ Cryin’, James Brown, Cat Power, Precious Bryant, Otis Redding, The Black Crowes, Indigo Girls, Now It’s Overhead, Gladys Knight & The Pips, The Allman Brothers Band and Vic Chesnutt. All proceeds will benefit three non-profit organizations: Black Voters Matter, Fair Fight and Georgia STAND-UP.

$79- Gold Circle

$65- Lower Orch Res

$49- General Admission

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• November 18, 2022 Setlist

Jason Isbell and the 400 Unit Setlist at O2 Apollo Manchester, Manchester, England

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Tour: European tour 2022 Tour statistics Add setlist

• What've I Done to Help Play Video
• 24 Frames ( Jason Isbell  song) Play Video
• Dreamsicle Play Video
• Hope the High Road Play Video
• Last of My Kind Play Video
• Running With Our Eyes Closed Play Video
• Only Children Play Video
• Overseas Play Video
• Alabama Pines Play Video
• Elephant ( Jason Isbell  song) Play Video
• Honeysuckle Blue ( Drivin’ n’ Cryin’  cover) Play Video
• Outfit ( Drive‐By Truckers  cover) Play Video
• Speed Trap Town ( Jason Isbell  song) Play Video
• Stockholm ( Jason Isbell  song) Play Video
• Flying Over Water ( Jason Isbell  song) Play Video
• Cover Me Up ( Jason Isbell  song) Play Video
• If We Were Vampires Play Video
• Super 8 ( Jason Isbell  song) Play Video

Edits and Comments

9 activities (last edit by event_monkey , 11 Oct 2023, 22:35 Etc/UTC )

Songs on Albums

• 24 Frames by Jason Isbell
• Cover Me Up by Jason Isbell
• Elephant by Jason Isbell
• Flying Over Water by Jason Isbell
• Honeysuckle Blue by Drivin’ n’ Cryin’
• Outfit by Drive‐By Truckers
• Speed Trap Town by Jason Isbell
• Stockholm by Jason Isbell
• Super 8 by Jason Isbell
• Only Children
• Running With Our Eyes Closed
• What've I Done to Help
• Hope the High Road
• If We Were Vampires
• Last of My Kind
• Alabama Pines

Complete Album stats

Jason Isbell and the 400 Unit

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O2 Apollo Manchester

• His Lordship Add time Add time
• Jason Isbell and the 400 Unit This Setlist Start time: 9:10 PM 9:10 PM

Jason Isbell and the 400 Unit Gig Timeline

• Nov 15 2022 Paradiso Grote Zaal Amsterdam, Netherlands Add time Add time
• Nov 17 2022 Eventim Apollo London, England Start time: 9:20 PM 9:20 PM
• Nov 18 2022 O2 Apollo Manchester This Setlist Manchester, England Start time: 9:10 PM 9:10 PM
• Nov 19 2022 3Olympia Theatre Dublin, Ireland Add time Add time
• Dec 14 2022 Bijou Theatre Knoxville, TN, USA Start time: 8:15 PM 8:15 PM

21 people were there

• DavidLindsey
• Mattywheels
• SpaghettiWeevil
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• towerofsong

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Concert review: Jason Isbell doesn’t avoid the tough subjects during his Charlotte show

Jason Isbell kicked off his first show since playing the Democratic National Convention almost three weeks ago with a timely statement at Ovens Auditorium Thursday that would have fit right in at the DNC.

With its undercurrent of hope and activism, “Save the World” — which addresses hopelessness and specifically parental fear in the wake of seemingly endless gun violence — made for both a sobering and rollicking intro for a show that didn’t shy away from difficult topics.

“King of Oklahoma” tells an all too familiar American story of a man whose Oxycontin addiction spirals out of control leading to the dissolution of his marriage. Yes, losing your wife and your job may be stereotypical of a country song, but Isbell does it in such well-defined detail that individualizes the story and the heartbreak of the subject.

While only the second song in the set, “King of Oklahoma” swelled to a downright barn burner.

With its extended solos and guitar shredding outro, it could have easily closed the show. As if with a wink, it signaled what the crowd was in for.

That’s no surprise to his audience though. Isbell and his band the 400 Unit have a solid reputation as a killer live act. Even with the addition of new members bassist Anna Butterss and multi-instrumentalist/percussionist Will Johnson, the band appears to work easily together and are so incredibly well rehearsed that there’s rarely a misstep.

The only hiccup in the show occurred as the fan favorite “Traveling Alone” came to a close.

Isbell announced that the band needed to leave the stage due to a medical concern. The lights went up and the crowd mulled about until a woman was wheeled out of the auditorium seated upright on a stretcher. The show quickly resumed with “Deathwish,” the opener of Isbell’s latest Grammy winning album, “Weathervanes,” which laments loving someone who seems to want to crash into the ether despite their loved one’s best efforts.

While the setlist (which focused heavily on “Weathervanes” and 2013’s breakthrough “Southeastern”) included older fan favorites like “Alabama Pines” and “Super 8,” it also didn’t shy away from more personal songs in lieu of his impending divorce from former bandmate Amanda Shires.

When some of your most popular songs are love songs and breakup songs, you inevitably spend your divorce tour reliving those moments. Songs like “If We Were Vampires,” which he used to perform as a duet with Shires, “Cover Me Up,” and “Overseas” in particular, left lumps in the audience’s collective throat yet they appreciatively sang along.

In February, Isbell told People Magazine that avoiding those kinds of songs “would be discrediting the emotional experience other people have had with them. For me it’s a matter of honoring other people’s connections with that music and also my own past.”

He’s taken a similar stance on “When We Were Close,” which he wrote about singer-songwriter Justin Townes Earle’s 2020 death despite protests from Earle’s widow to stop performing it due to its frank lyrical content and mention of the couple’s child. (As a fan of both artists, I for one didn’t realize who the song was about until the controversy spurred a deeper read of the lyrics).

Isbell didn’t mention its inspiration as he and the 400 Unit ripped through the dark rocker with more fury than its recorded version.

Its story of parallel paths diverging could definitely get lost in the mix. His ability to approach the material with detachment allows the crowd to enjoy some of his staples with the baggage that colors his lyrics trapped in the periphery.

Throughout the night Isbell seemed happiest — his smile gleaming from afar — while trading licks with longtime guitarist and Myrtle Beach-native Sadler Vaden.

They even played what appeared to be twin solos on “Save the World.” The two have a comfortable shorthand and their voices meld so well together that Vaden has become an essential part of the show — the secret weapon next to the band’s leader.

It was really only during the finale of “This Ain’t It” that my ears tricked me and I thought I heard Shires’ distinct accent on backing vocals.

Isbell noted that he was honored to have Americana legend Alejandro Escovedo open the show. Escovedo, who at one time played the Double Door and Neighborhood Theatre fairly often, led a raucous Texas trio of drums, keys and his own guitar.

And at 73-year-old, he can still helicopter his arm repeatedly punctuating the end of a big guitar rocker like Pete Townsend in his youth.

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Jason Isbell And The 400 Unit: 2022 Tour [Concert Review]

Brian Q. Newcomb | January 31, 2022 January 31, 2022 | Concert Reviews , Reviews

Jason Isbell And The 400 Unit w/ Adia Victoria :  Palace Theatre; Columbus, OH; Thursday, January 27, 2022

For live music fans, one of the biggest challenges of the on-going pandemic has been the shut-down of concerts, but Jason Isbell repeatedly told the two-thirds full crowd in Columbus’ Palace Theatre Thursday night that he and his band, the 400 Unit, missed playing for an audience just as much as we did. But this concert had originally been scheduled for Sunday, Jan. 16, and was postponed when it was reported that he had caught a breakthrough infection with the virus. And while the audience had to show proof of vaccination and masks were required, Isbell said he was happy to be playing again for his fans.

After that quick introduction, Isbell and his fine backing band, including his wife Amanda Shires on fiddle, launched into the opening track of the 2022 release, Reunions , “What Have I Done to Help,” with most of the band singing the vocal harmonies. Isbell started the song on acoustic guitar, but as the arrangement stretched out, with a brief bass solo by Jimbo Hart followed by a turn by Shires on violin, during which the singer/songwriter switched to a Gibson SG and took a smart melodic slides solo. They moved quickly into the big electric power chords that open “Hope the High Road,” with second guitarist Sadler Vaden emphasizing the rock song staples with Pete Townshend windmills, indicating as Isbell had said, this band came to rock.

Isbell moved to a Strat for “Overseas,” with its repeated refrain that “our love won’t change a thing,” and lyric about the distance he experienced when his wife is off touring to support her own albums, that ironically benefitted from her harmony vocals, and elicited another lengthy slide solo from Isbell. For “24 Frames,” Isbell moved to a Telecaster, with Vaden playing the fills and main slide guitar solo on a Rickenbacker. Isbell often gets categorized as Americana or country rock, but as he dove into the catchy vocal hook of “It Gets Easier,” a song that deals with the struggle of an alcoholic to stay sober, it’s clear that he writes songs with big, organic pop melodies. And here, Shire’s fiddle shines through as well, and stood out as well on Isbell’s “Letting You Go,” a song about their daughter, who Isbell said was watching from the wings of the stage. Vaden was playing a slide solo on an SG, and Isbell egged him on, saying “c’mon Sadler.”

Isbell & his fine band of players had settled into a nice groove, all playing with a mix of skill and intensity as the emotions in the music called for it, but things stepped up a notch on “Decoration Day,” a song dating back to Isbell’s days with Drive-By Truckers, which built from to the intense rocker with Isbell talking a slide solo and Vaden delivering a fast, ripping electric response on a Gibson Les Paul. For balance then, they turned to the acoustic ballad “The Last of My Kind,” which allowed the keyboards of Derry DeBorja and Shire’s violin to shine through, and a fun call and response between Vaden playing slide on a Strat and Shire matching him lick for lick.

Isbell next introduced songs from a covers album, Georgia Blue , all songs by that state, with proceeds going to protect the right to vote. First up was R.E.M.’s “Nightswimming,” with Isbell on acoustic doing a fairly strong approximation of Michael Stipes voice, emphasizing the song’s accessible melody even more than the original recording. Then Vedar sang lead and played the dominant lead guitar on a rockin’ version of “Honeysuckle Blue,” by Drivin’ ‘n’ Cryin’s Kevin Kenney. Then as if to play a song from Isbell’s own home state, the offered up “Alabama Pines,” the only song they played from the 2011 album, “ Here We Rest .” Which they followed with a tender version of “Elephant,” about the passing of a cancer patient, Isbell on acoustic, with DeBorja’s piano and Shire’s violin adding to the song’s delicate delivery.

Then, as if to shake off the somber demons, they dived into the fun, “Super 8,” with that great line “Don’t wanna die in a Super 8 motel/Just because somebody’s evening didn’t go so well.” At this point, it was pretty clear to me that the 400 Unit, many members like Isbell coming from Muscle Shoals Alabama, is one of the best live bands working today, each player quite exceptional on their chosen instruments. And as if to demonstrate their versatility, they played the acoustic leaning “Only Children,” with Vaden on acoustic and Isbell playing a Strat solo that captured the guitar sound and tone of Mark Knopfler of Dire Straits.

Next, Isbell invited Amanda Shires to sing the lead on “Cross Bones Style,” a shouter by Cat Power that she recorded with the band on Georgia Blue . Then, to celebrate their relationship and show his appreciation to have her back playing live with the 400 Unit, they gave another gentle, intimate rendering of “If We Were Vampires,” his acoustic ballad, a defiant love song that faces down mortality, that sounded appropriately moody and haunted. Then picking things up musically, but continuing that married life theme, the band delivered the big rocker, “Stockholm.” Then for the acoustic opening of “The River,” most of the band left the stage, just Isbell on acoustic and Shires on harmony vocal and violin, until Vaden joins in on slide guitar and the rest of the band slowly joins in as the song builds to a soaring slide solo. They closed the set with “Cover Me Up,” with Isbell alone playing the acoustic ballad, much like the performance on Live From the Ryman , which builds toward the end with the full band and Shires joining in.

When they returned for the encores, Isbell talked briefly about how great it was to be at a point in his career where he could name an artist he loved listening to and they’d come out and open for him, by way of re-introducing Adia Victoria, who sang her song from the Georgia Blue , album “The Truth,” originally recorded by Precious Bryant, with a rustic, back country blues feel. And then, as if to say, “hey, we could play all night,” the band slowly eased into “In Memory of Elizabeth Reed,” written by Dickey Betts of The Allman Bros. Band, starting with the jazzy intro, locking into the classic double lead harmony guitar melody, best played by Betts and the late Duane Allman. And the 400 Unit dug in and sought to give the blues rock classic its due, with Vaden and Isbell playing those classic runs together, then Vaden taking a long solo on a Les Paul, followed by De Borja giving his Hammond B3 a Gregg Allman workout, and finally Isbell closing out on his SG, before pulling things back together to repeat that signature double lead outro and allow drummer Chad Gamble a brief solo, the song altogether lasting at least 15 minutes of classic blues rock nostalgia. As someone who spent way too many teenage hours absorbing “ Live at the Fillmore East ,” Jason Isbell and the 400 Unit did it up just fine. A great conclusion to a fine evening of live music.

Adia Victoria and her three-piece support band – bass and drums and lead electric guitar – delivered a strong opening set, drawing largely on her latest album, A Southern Gothic . Playing older vintage acoustic guitars, she opened with “Far From Dixie,” while her guitarist and the band laid down an echo-laden haunted vibe that served her songs spirit well. First introduced to the music of classic bluesmen, Victoria said they always sang about some “Mean-Hearted Woman,” but they never explained what broke her heart and made her so mean. To introduce “Magnolia Blues,” she quoted her producer T Bone Burnett, who said she never needed to explain herself to the audience, her job was to make them feel something. After playing two more from here third album – “Whole World Knows” and “My Oh My” – Victoria put down her guitar to deliver the dark narrative of “Troubled Mind,” which her band extended with a bluesy psychedelic feel that segued into “Different Kind of Love,” which she picked up a tambourine and shook it to the throbbing beat. She closed her solid set with “South Gotta Change,” a message that speaks for itself.

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Concert Review: Jason Isbell & The 400 Unit – Lexington, KY

September 8, 2024 Jonathan Keefe Concert Reviews 0

Live Review

• Jason Isbell & The 400 Unit

Rupp Arena, Lexington, KY

September 6, 2024

The seven years since I last saw Jason Isbell live have been transformative for the singer-songwriter. He’s become a father, released another three acclaimed albums, divorced from Amanda Shires, weathered the death of Justin Townes Earle, made his acting debut in Martin Scorsese’s Killers of the Flower Moon , and performed at the Democratic National Convention. The totality of those experiences was brought to bear in his performance at Rupp Arena in Lexington, Kentucky, earlier this week, where he stopped in support of his latest record, Weathervanes . His command of the stage and his confidence as a bandleader for The 400 Unit have grown exponentially, resulting in a show in which his and The 400 Unit’s performances fully matched the power and emotional heft of his songwriting.

Before taking the stage, Silas House, the acclaimed novelist and music journalist who is currently serving as Kentucky’s Poet Laureate, introduced Isbell to the crowd, remarking that he thinks of Isbell as, “The Poet Laureate of The New South,” and citing Isbell’s unique skill in subverting stereotypes of the region while using first-person details that always ring true. House’s assessment is apt in the way it balances the praise that has been justly lauded upon Isbell’s songwriting since his days with Drive-By Truckers with the empathetic politics that are inherent in that songwriting.

Going into the show, I wasn’t sure whether to expect a setlist and banter that focused on Isbell’s recent divorce or his high-visibility gig at the DNC. His most vocal detractors insist that Isbell has gotten increasingly arrogant and insufferable over the last few years, particularly with a social media presence on which he’s made it clear that he’s unwilling to suffer fools or to entertain any “shut up and sing” bullshit. While there’s an element of truth to that criticism in how he’s leveraged his Xitter account– in full transparency, he’s engaged with us directly on that platform before we bailed on it– but it’s ultimately a matter of demanding civility in a discourse that was never bilaterally civil. What seems to get most under the skin of his critics is that he’s able to craft a withering insult as readily as he writes a heart-rending lyric: He makes no apology for punching down because he believes, correctly, that bigots and angry incels are inherently beneath him.

More to the point, though, is that he didn’t need to give a stump speech from his concert stage. His values– driven by a desire for things and people to be better, or at least to have the desire and resources to be better– have always been front-and-center in his songs. Working-class anthems “King Of Oklahoma” and “Something More Than Free” both benefitted from heftier arrangements than on their recorded versions, while the ever-growing power in his singing voice brought heightened conviction to the final verse of “Alabama Pines,” when he sings of the things he “gives a damn about.”

That he’s grown into a far better singer than he’s credited for was also a key element to this show. He belted “Middle of the Morning” into the high rafters, while he delivered a soulful rendition of “Cover Me Up” that was heightened by the addition of thundering percussion in its final chorus. His interplay with The 400 Unit showed an intuitive relationship with his backing band: There were plenty of moments when Isbell choked the absolute hell out of his guitar and just as many moments when he gave his band members space to shine. For someone who’s supposed to be such an egotist, he didn’t have to cede the spotlight to lead guitarist Sadler Vaden for a performance of Drivin’ N Cryin’s “Honeysuckle Blue.”

Isbell referred to Vaden as his “rock-and-roll guitarist” and to The 400 Unit as his “rock-and-roll band.” Isbell’s been increasingly vocal over the last few years that he doesn’t consider himself a country artist, and this show doubled-down on the notion that he and The 400 Unit are eager to prove themselves as an arena-rock outfit. If anything, Isbell need not worry about the genre semantics: However impressive his guitar solos may have been– and they really and truly were, particularly in terms of tone– his narratives and vernacular have always been rooted in country forms. He code-switches between country and rock now without stumbling.

That was most apparent when he pivoted between an inspired cover of The Cure’s “Just Like Heaven” and  “Cast Iron Skillet” during the set’s encore. What could’ve been a jarring transition from a less skilled band was, instead, a natural progression of the overall setlist. Perhaps most impressive was that Isbell was able to omit many of his best and most-beloved songs– “Outfit,” “Dress Blues,” “24 Frames,” “Elephant,” “Last of My Kind,” and countless others– and still put on a wholly satisfying show. 

Isbell’s at a point in his career that he’s able to curate a setlist that’s focused and purposeful in terms of what message he wants to send. As he sang on a stirring rendition of “Live Oak,” “There’s a man who walks beside me / He is who I used to be.” The 2024 iteration of Jason Isbell is fully aware of who he was before and, at least in terms of being a live performer, is comfortable in the knowledge that he’s now a better version of himself.

“Save the World”

“King of Oklahoma”

“Strawberry Woman”

“Traveling Alone”

“Death Wish”

“Something More Than Free”

“Middle of the Morning”

“Honeysuckle Blue”

“Alabama Pines”

“When We Were Close”

“Stockholm”

“If We Were Vampires”

“Cover Me Up”

“Just Like Heaven”

“Cast Iron Skillet”

“This Ain’t It”

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from Live at the Tabernacle - Atlanta, GA - 12​/​19​/​2021 by Jason Isbell and the 400 Unit

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• Nov 25 Eventim Apollo London, UK
• Mar 14 Walt Disney Concert Hall Los Angeles (LA), CA

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