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The profile · researched 3 October 2026
Seven nights, seven colours: My Morning Jacket reach The Fillmore with a protest record behind them
Twenty-eight years after Jim James started the band in Louisville, My Morning Jacket are deep into a late run of form — a tenth album made with an outside producer for the first time, a benefit record aimed squarely at immigration raids, and a rainbow-themed residency at San Francisco's Fillmore that is their only headline booking of 2026.
Louisville, 1998, and the line-up that stuck
My Morning Jacket began in Louisville, Kentucky, in 1998, when Jim James needed somewhere to put acoustic songs his previous band had no use for. The first records came out on small independents — Darla in the United States, Wichita in Britain — before ATO Records signed the band in 2002 and has released almost everything since.
Tom Blankenship joined on bass in 1999 and Patrick Hallahan took over the drums in 2002, but the group most listeners picture only arrived in 2004, when Bo Koster came in on keyboards and Carl Broemel on guitar, pedal steel and saxophone. All five are still in place. That continuity, more than any single record, is what explains the band's standing as a live act: the quintet has had twenty-two years to learn how its own songs breathe.
The records that carried them
The early albums — The Tennessee Fire (1999), At Dawn (2001), It Still Moves (2003) — built a reputation on cavernous reverb and country bones. Z, released in 2005, was the break, and it has since been ranked among Rolling Stone's 500 greatest albums of all time. Evil Urges (2008) split the audience with its falsetto funk detours and drew a Grammy nomination for Best Alternative Music Album. Circuital (2011) pulled back towards the band's rock centre, and The Waterfall (2015) reached number 11 on the Billboard 200 and earned a second nomination in the same category.
Then the band more or less stopped. James spent the back half of the 2010s on solo albums and the New Basement Tapes project, and no fresh studio record appeared until The Waterfall II in 2020, assembled from the same sessions as its predecessor. The self-titled My Morning Jacket followed in 2021, made quickly and self-produced, and functioned as a reset rather than a statement.
Handing over the desk: 'is', March 2025
The tenth studio album, is, arrived on 21 March 2025 on ATO. For the first time the band brought in an outside producer, Brendan O'Brien, and recorded at Henson Recording Studios in Los Angeles — a deliberate break from decades of running their own sessions. Two writing blocks threw up more than a hundred demos before ten tracks were chosen, and one of them, 'Half a Lifetime', had first been sketched during the Z sessions twenty years earlier.
The result runs to thirty-nine minutes, which for this band counts as brevity, and the compression was the point: critics fixed on O'Brien's economy and restraint, and the album finished on 79 out of 100 at Metacritic. Not everyone was convinced — Sputnikmusic argued the band were resting on their laurels. Commercially it behaved like a catalogue act's record rather than a hit: number 111 on the Billboard 200 but number 6 on Top Album Sales, number 19 on Top Rock Albums and number 9 on the UK Americana chart. The singles were 'Time Waited' on 15 January 2025, 'Squid Ink' on 11 February and 'Half a Lifetime' on 18 March.
'Peacelands': the acoustic record with a target
On 29 January 2026 the band put out Peacelands, fourteen acoustic tracks sold through Bandcamp for $9.99, with a vinyl pressing following in May. It mixes James originals with older protest material: Bob Dylan's 'Blowin' in the Wind' sits alongside readings of songs first recorded by Brian Wilson, the Velvet Underground, Sonny Boy Williamson, Timmy Thomas and Woody Guthrie. Shawn Everett recorded it at Studio Three of EastWest Studios in Hollywood.
The record was not vague about its subject. James said the band stood with the people of Minnesota and everywhere else affected by what he called ICE brutality, and called for immigration policy rooted in peace. All proceeds go to the American Civil Liberties Union, Doctors Without Borders and the International Rescue Committee. The title comes from the Louisville outsider artist Mark Anthony Mulligan, whose work imagined a land of peace, friendship and equality — a local reference rather than a slogan, which is characteristic of how this band handles politics.
Autumn 2026: where they actually are
The most recent release is a cover. On 11 September 2026 the band unveiled a version of Neil Young's 'Like a Hurricane' cut live with the Preservation Hall Jazz Band at Marigny Studios in New Orleans, produced by Ross Hogarth, which builds to a brass crescendo rather than the expected guitar one. It appears on Heart of Gold: The Songs of Neil Young Vol. 2: Out of the Blue and Vol. 3: Into the Black, due on 6 November 2026, with proceeds going to the Bridge School. James noted the band had played several Bridge School benefit concerts in the past.
Touring in 2026 has been almost entirely festivals: High Water in North Charleston on 18 April, the Revelry in Charlotte the following night, BeachLife at Redondo Beach on 3 May, Viva El Gonzo in Mexico on 9 May, a headline slot at Outside Days in Denver on 30 May, and Hoochenanny at Fairport, New York, on 15 August. The Fillmore residency, announced in late March 2026, is the band's only announced headline run of the year; a fan-club presale opened on 31 March and general tickets on 3 April. Nine dates remain on sale — six further Fillmore nights, Hulaween at Live Oak, Florida, from 22 to 25 October, and the band's own One Big Holiday destination event in Riviera Maya from 14 to 18 January 2027.
What the live reputation rests on
The band's standing on stage is built on duration and variation rather than spectacle. Over two nights at Red Rocks on 15 and 16 August 2025 they marked twenty years of Z by playing that album complete on the Friday, including a twenty-three-minute 'Dondante' — their longest since 2019 — and debuting Steely Dan's 'Do It Again'; the Saturday touched all ten studio albums inside two and a half hours and resurrected Black Sabbath's 'Black Sabbath' for the first time in roughly fifteen years. Melt opened both nights and their singer Veronica Stewart-Frommer guested.
Smaller rooms get the same treatment. Reviewing a sold-out Cain Park show in Cleveland Heights on 4 October 2024, Cleveland Scene clocked nineteen songs over more than 125 minutes — a fourteen-song main set plus a five-song encore — singled out Broemel's pedal steel and Koster's keyboards, and concluded that the band had learned how to turn studio recordings into something better on stage. Jade Bird opened. The pattern holds in 2026: at Hoochenanny in August the set ran to nineteen songs, opening with 'Spring (Among the Living)', working in Elvis Presley's 'It's Now or Never', and closing on 'Mahgeetah' with the bassist Karina Rykman guesting on the final four numbers.
The show, now
The current run is a seven-night residency at the 1,100-capacity Fillmore in San Francisco — 3 and 4, 6 and 7, then 9, 10 and 11 October 2026 — split into three blocks, with each night themed on a colour of the rainbow and no song repeated within a block; the band has asked audiences to dress to the night's colour. James called the venue a sacred place to the band and to music in general, and the run marks a return to a hall where the group first played in October 2002 and last held a residency for four nights in May 2024. No support acts have been announced, which fits a format built on the band playing long. Recent sets run to around nineteen songs and two hours or more: the Cain Park show in October 2024 was fourteen songs plus a five-song encore across more than 125 minutes, and the second Red Rocks night in August 2025 covered all ten studio albums in two and a half hours. Expect deep catalogue over new material — 'Spring (Among the Living)', 'Lay Low', 'Circuital', 'Wordless Chorus' and a closing 'Mahgeetah' have been regulars in 2026, with two or three songs from is and an unannounced cover most nights, plus guest players sitting in for the final stretch. Reviewers keep returning to the same two things: a first-class light show, and the interplay between Broemel's pedal steel and Koster's keyboards, which Cleveland Scene described as exquisite in arguing that the band's reputation as one of rock's finest live acts endures.
Researched from en.wikipedia.org · en.wikipedia.org · rockcellarmagazine.com · jambase.com · consequence.net · consequence.net · showbams.com · clevescene.com
Pictures
Photographs from Wikimedia Commons, credited
digboston · CC BY 2.0
Ryankindelan · Public domain
