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Jason Isbell and the 400 Unit

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Jason Isbell and the 400 Unit

With izzy heltai (10/12), amanda shires (10/13), satya (10/14), s.g. goodman (10/15), lawrence rothman (10/19), autumn nicholas (10/20), adeem the artist (10/21) and quinn christopherson (10/22).

• Date & Time Oct 12 - 22 , 2023 8:00 PM
• On Sale On Sale Now
• Ticket Pricing $59.75 - $135.00

A Jason Isbell record always lands like a decoder ring in the ears and hearts of his audience, a soundtrack to his world and magically to theirs, too. Weathervanes carries the same revelatory power. This is a storyteller at the peak of his craft, observing his fellow wanderers, looking inside and trying to understand, reducing a universe to four minutes. He shrinks life small enough to name the fear and then strip it away, helping his listeners make sense of how two plus two stops equaling four once you reach a certain age -- and carry a certain amount of scars.

“There is something about boundaries on this record,” Isbell says. “As you mature, you still attempt to keep the ability to love somebody fully and completely while you’re growing into an adult and learning how to love yourself.”

Weathervanes is a collection of grown-up songs: Songs about adult love, about change, about the danger of nostalgia and the interrogation of myths, about cruelty and regret and redemption. Life and death songs played for and by grown ass people. Some will make you cry alone in your car and others will make you sing along with thousands of strangers in a big summer pavilion, united in the great miracle of being alive. The record features the rolling thunder of Isbell’s fearsome 400 Unit, who’ve earned a place in the rock ‘n’ roll cosmos alongside the greatest backing ensembles, as powerful and essential to the storytelling as The E Street Band or the Wailers.

They make a big noise, as Isbell puts it, and he feels so comfortable letting them be a main prism through which much of the world hears his art. He can be private but with them behind him he transforms, and there is a version of himself that can only exist in their presence. When he plays a solo show, he is in charge of the entire complicated juggle. On stage with the 400 Unit, he can be a guitar hero when he wants, and a conductor when he wants, and a smiling fan of the majesty of his bandmates when he wants to hang back and listen to the sound.

The roots of this record go back into the isolation of the pandemic and to Isbell’s recent time on the set as an actor on Martin Scorsese’s Killers of the Flower Moon. There were guitars in his trailer and in his rented house and a lot of time to sit and think. The melancholy yet soaring track “King of Oklahoma” was written there. Isbell also watched the great director work, saw the relationship between a clear vision and its execution, and perhaps most important, saw how even someone as decorated as Scorsese sought out and used his co-workers’ opinions.

“It definitely helped when I got into the studio,” Isbell says. “I had this reinvigorated sense of collaboration. You can have an idea and you can execute it and not compromise -- and still listen to the other people in the room."

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Jason Isbell and the 400 Unit Announce New 2023 Tour Dates

Jason Isbell and his band, the 400 Unit, will hit the road again in the new year. Earlier today (Sept. 27), the acclaimed outfit announced a set of tour dates that begin in January 2023.

The upcoming run will include a stop in some smaller cities across the U.S., including Evansville, Ind., Saginaw, Mich. and Greensboro, N.C. Isbell will wrap up his stint of shows with a performance in Ashland, Ky. on Feb. 3. Influential West African duo Peter One has been tapped as Isbell's opening act for the entire tour.

Tickets for Isbell's first four Florida shows will go on sale Oct. 7, beginning at 10 AM local time. All other dates will become available this Friday (Sept. 30) at 10 AM local time. You can find additional ticketing information at Jason Isbell's  official website .

Jason Isbell's 2023 Tour Dates:

Jan. 19 - Orlando, Fla. @ Dr. Phillips Center for the Performing Arts Jan. 20 - Clearwater, Fla. @ Ruth Eckerd Hall Jan. 21 - Hollywood, Fla. @ Hard Rock Live Jan. 23 - Fort Myers, Fla. @ Barbara B. Mann Performing Arts Hall Jan. 25 - Mobile, Ala. @ Saenger Theatre Jan. 27 - Evansville, Ind. @ Victory Theatre Jan. 28 - Shipshewana, Ind. @ Blue Gate Theatre Jan. 31 - Nashville, Ind. @ Temple Theatre Feb. 1 - Greensboro, N.C. @ Brown County Music Center Feb. 2 - Richmond, Ky. @ Steven Tanger Center for the Performing Arts Feb. 3 - Ashland, Ky. @ EKU Center for the Arts

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SZA, Steely Dan, R.E.M., Trey Anastasio, Carrie Underwood and Many More Light up 2024 Songwriters Hall of Fame Ceremony

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On this night, one can see Lady Gaga singing Four Non-Blondes’ hit “What’s Up” to Linda Perry; Stevie Nicks belting “The Rose” to Bette Midler; Emmylou Harris performing Eric Clapton’s heartbreaking hit “Tears in Heaven” for the song’s co-writer Will Jennings; Joe Walsh performing ELO’s “Don’t Bring Me Down” (and saying, “I always wanted to be in ELO — now I have”), and in 2011, the evening ended with Billy Joel and Garth Brooks duetting at the piano in matching Stetson hats.

Every year, honorees who have won multiple Grammy and other awards say this award means the most to them, because a recognition from their peers of the art and craft that is the very foundation of all music: songwriting, a message that is more important than ever as the industry continues to find new and brazen ways to avoid paying the creators of that foundation .

This event is probably the only one on earth that could feature performances from R.E.M., SZA (pictured above with hit producer and SHOF president Nile Rodgers), Carrie Underwood, Andra Day, Phish’s Trey Anastasio, Keith Urban, El Debarge and Jason Isbell, but a similar statement could be made every year.

However, a couple of things were very different this year. For one, the tightly-run show — which often approaches (and sometimes even passes) the five-hour mark due to packed lineups and speeches that can hit the double-digit-minute mark — was done before 11 p.m. for the first time in anyone’s memory. And second but far more significant, longtime SHOF CEO Linda Moran, who was appointed to the role in 2001 and whose industry career reaches back to the 1960s, wasn’t there, for the only reason that could have kept her away: At the top of the show, Board member Evan Lamberg of Universal Music Publishing gently told the audience that Moran wasn’t there because she’s battling leukemia. Yet he quickly countered the gasps in the room by saying that she’s receiving the best possible care and treatment is moving in a good direction. He then led the crowd in a quick video greeting to her before moving on to the show.

The evening’s music kicked off in characteristically far-reaching fashion with the tribute to songwriter Dean Pitchford, as the high school-aged winners of the Hall’s 2024 Abe Olman Scholarship sang his hit for Irene Cara from the film “Fame,” followed by R&B singer Deniece Williams delivering a stellar version of “Let’s Hear It for the Boy,” followed by Kevin Bacon, with his brother Michael on guitar, singing “Footloose,” complete with some fleet footwork from Kevin, who starred in the film some 40 years ago. Pitchford delivered a gracious acceptance speech before singing a medley of his other songs, finishing with “Once Before I Go.”

A dramatic musical shift followed as Phish singer-guitarist Trey Anastasio took the stage to honor Steely Dan — Donald Fagen and the late Walter Becker — playing a sleek medley of “Kid Charlamagne” and “Reeling in the Years,” remarkably channeling Fagen’s voice on the former and showing some dazzling guitar work on both.

Veteran power manager Irving Azoff took the stage to induct his longtime clients, telling an amusing story about how the group, which stubbornly refused to tour during their 1970s commercial peak, asked him one day to schedule a concert. Azoff excitedly booked a show, which quickly sold out, and then asked the group when he could follow with more dates. “‘Oh, we have no intention of touring,’ he recalled them saying. ‘We just wanted to see how big we are,’” and promptly canceled the date. Fagen followed with a brief and gracious thank you. 

In a characteristically effusive acceptance speech, SZA noted that her parents were in the audience and said, “Out of all the awards, I feel like this means the most — it validates my entire career.” Accompanied by a guitarist, she then delivered an acoustic version of her 2023 hit single, “Snooze.”

Next up was Carrie Underwood, who used every bit of her formidable vocal power to honor songwriter Hillary Lindsey, writer of one of her biggest hits, “Jesus Take the Wheel.” Lindsey — no mean singer herself — gave a warm acceptance speech before picking up a vintage Gibson acoustic guitar to deliver a medley of two of her other hits, inviting Keith Urban to the stage to duet with her on his Lindsey-cowritten 2016 hit, “Blue Ain’t Your Color.”

The crowd roared as Missy Elliott took the stage to induct her longtime friend and collaborator, hit producer Timbaland (Tomothy Mosely) — the pair, who met as high school students in Virginia, soared into the public consciousness in 1996 by cowriting and coproducing Aaliyah’s “One in a Million” album and haven’t dipped since. She recalled seeing his “big hands on this little keyboard, and I was amazed that he could make songs with [the keyboard’s] weird dog and cat sounds and handclap noises.” She also recalled Moseley’s father, a long-haul truck driver, telling the pair to stop making so much noise “with your boobiddy bop-bop” because he had to rest up for a drive.

“That boobiddy bop-bop is now in the Songwriters Hall of Fame,” she concluded with a laugh.

Moseley gave the evening’s only long acceptance speech before leading the ace house band through a fast-paced, mostly instrumental medley of around a dozen of his hits — complete with a conductor’s wand — including “Big Pimpin’,” “Pony,” “Get Your Freak On,” “Drunk in Love,” “Promiscuous,” and “Suit & Tie,” concluding with Justin Timberlake’s 2006 smash “SexyBack.”

Country star Jason Isbell then took the stage to honor R.E.M. — singer Michael Stipe, guitarist Peter Buck, bassist Mike Mills and drummer Bill Berry — with a rapid-fire version of their 1987 hit “It’s the End of the World as We Know It.” Calling them “my friends and my heroes,” he spoke of their vast influence on him and many others as a young musician. He presented all four members with their trophies and then stepped aside as Stipe gave a heartfelt acceptance speech on behalf of the entire group, which then moved center stage to perform their 1991 hit “Losing My Religion.” (Read Variety ’s full recap of R.E.M.’s speech and performance here .)

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Warren grew emotional during her characteristically humorous and idiosyncratic speech, thanking her mother “for being the first of many I proved wrong” but then tearing up as she thought of her watching from heaven, her father “for being the first of many I proved right,” Clive Davis, who she called one of her greatest champions, and all of the artists “who make my songs sound a hell of a lot better than I do.”

The evening concluded with El Debarge taking the stage for a show-closing version of Warren’s hit “Rhythm of the Night” — which the audience, pleasantly surprised by the early hour, slowly filtered out into.

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Elektrostal Localisation : Country Russia , Oblast Moscow Oblast . Available Information : Geographical coordinates , Population, Altitude, Area, Weather and Hotel . Nearby cities and villages : Noginsk , Pavlovsky Posad and Staraya Kupavna .

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Savvino-storozhevsky monastery and museum.

Zvenigorod's most famous sight is the Savvino-Storozhevsky Monastery, which was founded in 1398 by the monk Savva from the Troitse-Sergieva Lavra, at the invitation and with the support of Prince Yury Dmitrievich of Zvenigorod. Savva was later canonised as St Sabbas (Savva) of Storozhev. The monastery late flourished under the reign of Tsar Alexis, who chose the monastery as his family church and often went on pilgrimage there and made lots of donations to it. Most of the monastery’s buildings date from this time. The monastery is heavily fortified with thick walls and six towers, the most impressive of which is the Krasny Tower which also serves as the eastern entrance. The monastery was closed in 1918 and only reopened in 1995. In 1998 Patriarch Alexius II took part in a service to return the relics of St Sabbas to the monastery. Today the monastery has the status of a stauropegic monastery, which is second in status to a lavra. In addition to being a working monastery, it also holds the Zvenigorod Historical, Architectural and Art Museum.

Belfry and Neighbouring Churches

Located near the main entrance is the monastery's belfry which is perhaps the calling card of the monastery due to its uniqueness. It was built in the 1650s and the St Sergius of Radonezh’s Church was opened on the middle tier in the mid-17th century, although it was originally dedicated to the Trinity. The belfry's 35-tonne Great Bladgovestny Bell fell in 1941 and was only restored and returned in 2003. Attached to the belfry is a large refectory and the Transfiguration Church, both of which were built on the orders of Tsar Alexis in the 1650s.  

To the left of the belfry is another, smaller, refectory which is attached to the Trinity Gate-Church, which was also constructed in the 1650s on the orders of Tsar Alexis who made it his own family church. The church is elaborately decorated with colourful trims and underneath the archway is a beautiful 19th century fresco.

Nativity of Virgin Mary Cathedral

The Nativity of Virgin Mary Cathedral is the oldest building in the monastery and among the oldest buildings in the Moscow Region. It was built between 1404 and 1405 during the lifetime of St Sabbas and using the funds of Prince Yury of Zvenigorod. The white-stone cathedral is a standard four-pillar design with a single golden dome. After the death of St Sabbas he was interred in the cathedral and a new altar dedicated to him was added.

Under the reign of Tsar Alexis the cathedral was decorated with frescoes by Stepan Ryazanets, some of which remain today. Tsar Alexis also presented the cathedral with a five-tier iconostasis, the top row of icons have been preserved.

Tsaritsa's Chambers

The Nativity of Virgin Mary Cathedral is located between the Tsaritsa's Chambers of the left and the Palace of Tsar Alexis on the right. The Tsaritsa's Chambers were built in the mid-17th century for the wife of Tsar Alexey - Tsaritsa Maria Ilinichna Miloskavskaya. The design of the building is influenced by the ancient Russian architectural style. Is prettier than the Tsar's chambers opposite, being red in colour with elaborately decorated window frames and entrance.

At present the Tsaritsa's Chambers houses the Zvenigorod Historical, Architectural and Art Museum. Among its displays is an accurate recreation of the interior of a noble lady's chambers including furniture, decorations and a decorated tiled oven, and an exhibition on the history of Zvenigorod and the monastery.

Palace of Tsar Alexis

The Palace of Tsar Alexis was built in the 1650s and is now one of the best surviving examples of non-religious architecture of that era. It was built especially for Tsar Alexis who often visited the monastery on religious pilgrimages. Its most striking feature is its pretty row of nine chimney spouts which resemble towers.

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