Generation Mixtape

Released: June 9, 2023

If Jason Isbell has proven anything over the course of his career, it’s that the man loves a good story. Weathervanes, Isbell’s eighth full-length, serves as an apt reminder of his ever-evolving songwriting prowess. The ability to immerse the listener in an all too familiar world was there from the beginning, but Isbell’s character work has only grown stronger with age. In that regard, Weathervanes (featuring his long-time backing band, the 400 Unit) represents yet another significant addition to his discography.

With thirteen songs clocking in at over an hour, Weathervanes is anything but an immediate listen. Isbell wisely front-loaded the album with ‘the singles,’ relegating the ‘deep cuts’ to the final act, a move that makes for an incredibly rewarding listen (at least, for those willing to invest the time). That said, with an album this dense, diving in track-by-track feels like the right way to go.

1. “Death Wish” – The definition of a ‘grower,’ this initially made for an underwhelming introduction. Still, the minor-key song has grown on me tremendously, and when heard within the context of the album, it feels like an obvious opener.

2. “King of Oklahoma” – Where “Death Wish” revels in somewhat experimental waters, “King of Oklahoma” is vintage Isbell, a mid-tempo slice of Americana that would be right at home on any of his prior releases.

3. “Strawberry Woman” – A case could be made that Isbell should carve out more space (or perhaps dedicate an entire album) for his low-key, fingerpicked ballads. The man is aces on his instrument, and it’s on tracks like this where his playing (and vocals) really shine.

4. “Middle Of The Morning” – With lyrical references to the pandemic, Isbell nails that difficult-to-describe mix of boredom and dread that accompanied lockdowns (something that most of us would rather forget). “Middle Of The Morning” is a fine song (and an obvious single), but if I had to cut something from the album, this would probably be the first to go.

5. “Save The World” – At first glance, this up-tempo number finds Isbell in his comfort zone, but once you zero in on the thought-provoking lyrics, you can’t help but notice the pure emotion blanketing each and every line. The only thing working against this song is the painfully ‘real’ subject matter.

6. “If You Insist” — Another understated number, this song is a classic example of an excellent mix elevating an already ‘good’ song to great. From the quasi-shuffle rhythm to the judicious use of strings (Shires for the win!) and organ, there’s a lot going on here. Somehow, Isbell’s vocal floats above it all, preserving the potency of yet another fabulous lyric.

7. “Cast Iron Skillet” – My favorite of the pre-album singles, this is vintage Isbell and features some of the singer’s best lyrical wordplay to date–instant classic.

8. “When We Were Close” – Presumably a tribute to Justin Towne Earl (who died in 2020), this floor-stomper is in contention for the album’s loudest moment, and fittingly so, given the subject matter.

9. “Volunteer” – A mid-tempo gem in 6/8 that feels like the spiritual successor to “Stockholm,” “Volunteer” features one of the album’s strongest choruses.

10. “Vestavia Hills” – A massive-sounding ballad that’s drenched in tasteful leads, this track is yet another example of why Weathervanes features some of Isabell’s best vocal work to date.

11. “White Beretta” – A common theme for this album, “White Beretta” is a prime example of Isbell’s ability to offer a vivid, almost voyeuristic glimpse into someone else’s story via a three-minute pop song. 

12. “This Ain’t It” – A six-minute rocker in the vein of “Anxiety” that features incredible lead work and some pretty brilliant lyrical sass, “This Ain’t It” has ‘stage-ready-anthem’ written all over it.

13. “Miles” – A tremendous album-closer that feels like a lost track from Neil Young’s Zuma sessions, “Miles” is an emotionally-charged epic that explores the seemingly inevitable slide that seems to confront all long-term relationships. Tucked away at the end of an hour-long album, this is just the sort of gem that will likely fly under the radar for most casual listeners. For this writer, however, when it comes to the ‘epics’ “Miles” is up there with “Children of Children.” 

So, there you have it–Weathervanes is yet another home run for Jason Isbell. Complete with compelling storytelling, captivating melodies, and diverse musical landscapes, the album is a testament to Isbell’s evolution as an artist, solidifying his status as one of the most respected and influential voices in contemporary Americana music. Mileage will undoubtedly vary for the ‘long-time’ contingent that measures every release against 2009’s Southeastern, but for everyone else, Weathervanes succeeds at capturing Jason Isbell and his 400 Unit at the top of their game.