Jason Isbell arrived Thursday at Orchestra Hall an acclaimed singer-songwriter still identified by many as a former member of Drive-By Truckers. He left having established a name for himself as a master storyteller and proficient vocalist by way of a stupendous two-hour concert steeped in deep-seated conviction and soul-baring emotion. Backed by a crack band, Isbell utilized the venue’s acoustics to his advantage. Conveyed with a tonal purity missing from many halls, the group’s sound took on widescreen proportions that highlighted nuances—lyrical and instrumental—central to making the music distinctive.
While the Alabama native isn’t new to the scene, his solo career reached new peaks after the release of 2013’s “Southeastern.” The album won three Americana Awards, and drew critical praise for its unguarded autobiographical content. Isbell recorded it after going to rehab, getting sober and remarrying, finally putting an end to an alcoholic fog that caused him to forget much of what transpired over the better part of a decade.
Performing as if personally attached to every note, Isbell projected a confidence and control that far outshined what he managed onstage even three years ago. He beamed when he spoke to the packed crowd, closed his eyes to focus when he sang and delivered lines with a warm, tobacco-stained drawl that underlined his raw sincerity.
Isbell’s creative maturity extended to his already-skilled guitar playing. Balancing finesse and grit, he exhibited restraint that brought out dynamic contrasts and rich colors in fare such as the remorseful “Songs That She Sang In the Shower” and restorative “Stockholm.” On occasion, the front man dialed up the volume and crunch. He let the outro to the feudal “Decoration Day” bleed with bluesy distortion and used the hell-raising anecdotes of “Super 8” as reason to celebrate surviving near-death experiences with a garage-rock blowout. Not all of Isbell’s tales emerged with such an upbeat flavor. But most featured damaged or flawed protagonists seeking to learn from mistakes. Isbell included.
Rooted in simplicity yet taking on universal significance, images and actions in Isbell’s lyrics sprang from the same authentic Southern heritage running through his country- and folk-leaning arrangements. By reconciling his past with the present, the singer confronted broken relationships and damaging behaviors without skirting responsibility or wallowing in sadness. In return, his songs offered dignified perspectives on weighty issues like loss, regret and faith. And sometimes, as with the bracing ballad “Cover Me Up,” Isbell realized an even greater reward: redemption in the form of love.
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