On his seventh studio album, Jason Isbell magnificently explores the human connection

Like recently deceased country legend John Prine (and Isbell’s friend and mentor), he focuses on the minor things in life to create soundscapes filled with imagery of the mundane day-to-day — driving past a bar, cold coffee, a hearse in parking lot. But make no mistake, the ordinary is never boring. Every picture painted has its purpose, every action its reasoning, and every emotion its rationality. With a little help from the 400 Unit, Isbell has crafted an idiosyncratic and often grievous album which continuously shines throughout.

The ruminating opener “What’ve I Done to Help” is enhanced with a wailing bluesy guitar solo, something that’s been Isbell’s forte since his stint in Drive-By Truckers. On “St. Peter’s Autograph” Isbell gets biblical while ignoring his own insecurities for a struggling lover. On “Only Children”, Isbell references Dylan as he pushes back into his Americana roots. One of the stand-out tracks, “Overseas” is an electric odyssey that’s been perfectly translated from stage to studio since its debut during Isbell and Father John Misty’s joint tour back in 2019.

On single “Dreamsicle” — one of the album’s climaxes — Isbell takes a step back and falls into the shoes of a fourteen-year-old boy. His mother is crying, his father is gone, but not all is lost as the narrator envisions a future where he gets to leave it all behind — as soon as he turns eighteen, that is. Small pleasures come in threes: new sneakers on a high-school court, ice cream on a fold-out chair, evening sky reminiscent of his mother’s red hair. Throughout the album, Isbell’s characters and their unique details become so three-dimensional it’s difficult to believe they’re completely fictitious.

The middle of the record falls into the trap of becoming a little less distinctive. On “River”, Amanda Shires’ fiddle steals the limelight. Her music dances around Isbell’s words seamlessly, and as both Isbell’s wife and brilliant musician in her own right, it’s a testament to their relationship. The track is understatedly anthemic, married with the melody of Billy Joel’s “The Entertainer”. On the final track “Letting You Go”, Isbell looks ahead at his daughter’s future with unease. The verses are similar to his 2016 track “God Is A Working Man” on country compilation album Southern Family.

For the duration of Reunions, Isbell is rapturous, patient, conflicted, angry, and wounded. Joyful moments are stained with loss, desolate moments bring their own sense of pleasure. With a blend of fact and fiction, Isbell has created his own Nebraska and secured his place among the greats of country-rock.