The 400 Unit: Gets Ready to Rock

Before there’s sound, lights, or friendly stage banter, there’s stage wear setting the tone for the performance. Whether it’s sporting jeans and a tee or showing up dressed to the nines night after night, what a musician chooses to wear on stage says a thing or two about themselves and mood of the night.

I have an appreciation for everything from the understated and functional to the over-the-top wardrobe decisions of an artist/band. One band that always delivers an unforgettable performance while looking handsome as hell is the 400 Unit. I caught up with the guys earlier this month during their impressive six-night run backing Jason Isbell at Nashville’s beloved Ryman Auditorium and got a behind-the-scenes experience of their rituals and wardrobe choices. 

“No one ever gave me any advice on stage wear. I’ve been touring since I was 18 years old, so I pretty much learned as I went. I think it’s important to dress how you feel and, also, if you like a vintage look, don’t go too far; still try to remain in the current time you’re living in, as best you can.” — Sadler Vaden, guitar

Clothing Superstitions 
I like to have my coin necklace that belonged to my mother, who is deceased. I feel a sense of comfort and a relaxing energy when I wear it.

Pre-show Ritual
Lately, my pre-show ritual has been getting the guitar out and singing any song while Jimbo sings the high harmony.

Stage Wear Essential
I find that a good pair of black Levi’s jeans are essential for any rocker. You can make those work in any situation you’re in, if you need to look sharp or casual

Never leave for tour without … one good pair of comfortable socks.

“When I was 19 or so, and playing in a couple of different working bands in college, one of my gigs was in a blues band. For every other gig I did, it was pretty much anything goes, as they were college bands playing whatever was popular at the time. But my blues gig was always way more serious and professional. It was then that I realized that fashion had a place in what I was doing. Playing blues festivals and juke joints around the South put me around a culture of musicians who dressed their best, no matter what the gig. Admittedly, I don’t always go full-on dapper, but when I do …” — Chad Gamble, drums

Clothing Superstitions
As a drummer, I tend to stay away from things like long sleeves, coats, and slick boots. Plenty of drummers are able to pull those things off, but it only increases the possibility of disaster for me. Sticks getting caught in shirt cuffs and feet sliding around pedals are true wardrobe malfunctions. 

Pre-show Ritual
I pace. Endlessly. 

Stage Wear Essential
I wear hats when I play. I’m not vain enough to think that it makes me look better, but the truth is, I have the propensity to sweat when I play … a lot. If I were in Dire Straits or something, I might wear a sweat band, but hats serve that purpose well enough for me and look better, in my opinion. 

Never leave for tour without … Downy Wrinkle Release. 

“I don’t remember anyone giving me any particular advice about how to dress for the stage, but it was during my time in Son Volt that I figured things out for myself. That was my first professional gig and it was the first time I wasn’t begging my friends to come see me play because there was an audience already there for that band. A lot of them were paying good money for tickets and for a ‘show.’ Suddenly, you’re not just a musician; you’re a performer.” — Derry deBorja, keys and accordion

Clothing Superstitions
I used to wear a tie the night a show sold out. It was mustard yellow and probably lost somewhere in my closet. No real superstition behind it. It became a kind of game. Made it easier to decide what to wear on some given nights.

Pre-show Ritual
I go to the bathroom a lot. I drink a lot of water.

Stage Wear Essential
Combat boots are my new essential. You can wear them anywhere with pretty much anything, both on and off the stage. Very handy for touring as it makes for a lighter suitcase.

Never leave for tour without … either a camera, an audio recorder, or a pen and paper. Also, never leave for tour without cleaning up your place before you leave. Trust me.

“I can’t recall anyone specifically giving any advice on stage wear. I’d always heard that Hank Williams once said that, if you’re gonna stand in front of an audience to entertain them, you have to dress better than them. That piece of advice gets more expensive every year!” — Jimbo Hart, bass

Clothing Superstitions
I once had a fedora that I acquired while on the road with a band that didn’t end well, and I held on to that fedora … until I started almost having automotive incidents every single time I wore it. I started to believe that it was cursed, somehow. Derry and I had to go to St. Louis one time to get some of his gear, and I told him about the hat the morning we were leaving. He called me crazy and then we got in the van to leave and, sure enough, we almost got hit head-on. I tossed that fedora out the window somewhere on I-55 and, thankfully, no more near-collisions.

Pre-show Ritual
Besides making sure all pockets are empty, save a few picks, the only pre-show ritual that seems to happen every single night is me asking Derry if my clothes are okay. He always shoots me straight.

Stage Wear Essential
I wear a lot of hats. I call them essential because they cover up my lack of good hair. Also, I have a thin, aluminum bracelet that a friend gave me with ‘Sweet Home Alabama’ inscribed on it that I wear all the time (on and off stage) to remind me of where I’m from and the people who made me who I am.

Never leave for tour without … at least one awesome pair of boots. They always work with jeans, and you never know when you’ll actually need their functionality. It’s more often than one might imagine.

Root 66: The Isaacs’ Roadside Favorites

Name: The Isaacs
Hometown: Hendersonville, TN
Latest Project: Nature's Symphony in 432

Tacos: Pappasito's Cantina in Houston, TX

Pizza: John & Joe's Pizza in Bronx, NY

Burger: In & Out Burgers in California

Coffeehouse:  Peet's in San Francisco, CA

Record Store:  Ernest Tubb Record Shop in Nashville, TN

House Concert: Bonfire in Bill Gaither's backyard in Alexandria , IN

Backstage Hang: Ryman Auditorium with Steven Tyler

Music Festival: MerleFest!

Airport: Nashville!

Car Game: " I Spy"

Day Off Activity: Guys — Golfing; Girls — Shopping

Tour Hobby: Eating at different restaurants

Why ‘Cover Me Up’ Is the Truest Love Song Jason Isbell Will Ever Write

“It’s not easy to sit down and open yourself up and say, ‘This is how much I love you,’ you know? It’s scary to do that.”

Jason Isbell told this to NPR Music in 2013, shortly before the release of Southeastern, the record that marked the beginning of a new era for the Alabaman troubadour and his tenure as this decade’s best American songwriter. The song he was talking about, “Cover Me Up,” was a bold choice for Southeastern’s lead-off track: Solemn, stripped-down, and slow, it floors listeners with its stark vulnerability and the strength of its romance as Isbell unfolds his love for Amanda Shires, the fiddle player he married just days after he finished recording the album earlier that year. Southeastern is Isbell’s “sober” record, the one he wrote following a stay in rehab after years of hard-partying took their toll on the musician’s personal life (and professional one, too). As such, it stuns with its clarity and ability to cut to the core of his sentiment in a chorus or less, and “Cover Me Up” is the beacon of this. (The “I sobered up / and swore off that stuff” line in the song doesn’t fall on deaf ears, either.)

It came as no surprise when “Cover Me Up” was recognized at the 2014 Americana Music Association Awards for its ascent to modern classic status. It earned the distinction of Song of the Year, and Isbell took home the additional honors of Album of the Year and Artist of the Year after he and Shires performed the ballad for a rapt crowd at the Ryman. Isbell may need another shelf for his statuette collection soon, as Southeastern’s follow-up, the remarkable Something More Than Free, netted him two golden gramophones at the 2016 Grammys, one for Americana Album of the Year and one for American Roots Song of the Year with “24 Frames.”

He, Shires, and the 400 Unit, Isbell’s band, have been touring in support of Something More Than Free following the Grammy win, and the setlist of their current show is split between its track list and the rest of his catalog. While “Flying Over Water,” “Elephant,” and other selections from Southeastern go over brilliantly with Isbell fans, “Cover Me Up” is what brings the house down — and its current form serves as a reminder that a great love only deepens with age.

As such, the context of “Cover Me Up” has changed, for this tour especially. Isbell always plays “Cover Me Up,” even if Shires isn’t present, but to see the two of them play it together is to watch a man waltz with his muse live and in the flesh. It’s one thing to hear Isbell sing about how “home was a dream / one that I’d never seen / ‘til you came along” and pray that you’ll find a love that terrifyingly transformative yourself. It’s another to watch him and Shires lock eyes shortly after he finishes his phrase and she elevates that euphoria with the might of her own voice and strings.

Those at the Ryman watched them do this back in 2014, and those who caught the most recent leg of his tour had the privilege of taking in this performance, as well. But Isbell in 2016 is further changed, and “Cover Me Up” boasts a confident shine that hits the ear as a sure-footed affirmation instead of the gamble of a love letter, one written to a still-new object of his affection that could spook and take off should the going get rough. Isbell and Shires are parents, now, and their baby, Mercy Rose, comes along for the tour bus ride. Another addition to their touring life flies as the splendid backdrop for their live show: three stained-glass cathedral window tableaus, each featuring an anchor and sparrow, the same image Isbell and Shires sport as twin tattoos that represent Isbell, Shires, and the baby. (Isbell’s lucky socks — which he wore for his wedding, the AMA Awards, and the birth of Mercy — are emblazoned with anchors, too.)

Isbell’s adoration for Shires has always had a front-and-center prominence during his performances, but now, that love has deepened and swelled outside of its verses, and it’s only nourished the resonance of “Cover Me Up” years after it was written. “Cover Me Up” is the kind of timeless that’ll echo long after Mercy’s grown, the kind that Isbell and Shires will be remembered for when they’re no longer striding out onto the same stage and singing for their suppers. It’s as faithful to the connection that inspired it as it is to the truth that certain songs speak to us in perpetuity because they touch on scary and unknown and incredible so beautifully. While Something More Than Free may carry Isbell through the end of this tour and the next one, “Cover Me Up” will carry him into the folklore of American music — except now, “This is how much I love you” is something he can, and does, say so effortlessly.


Lede photo of Amanda and Jason after his 2016 Grammy wins by Danny Clinch.