March 06, 2026 – From the corner buskers to the Honky Tonks to the writers’ showcases, Nashville is bleeding with talent. On any given day, the best of the best are tracking in studios on Music Row or loading up buses to take their songs around the world. Among this top-tier, one collection of players known especially for its talent and elite musicianship, is the Zac Brown Band. So it takes a special kind of artist to join their ranks—and an even rarer one to truly stand out.
Photos + Review by Glenn Miller @aerobon3
Caroline Jones is such an artist. On break from festivals, stadium shows, and the band’s Sphere residency, Jones brought her talents to 118 North in Wayne, Pennsylvania, for a much more intimate, sold-out show in support of her new album, Good Omen.
Jones possesses a voice that exhibits control and sweetness at its lows, with striking power at its highs. It’s that type of unique voice that can cut cleanly through the mix when sharing a stage with the multiple powerhouse vocalists and instruments of the Zac Brown Band. If she were only a remarkable singer, that would be impressive enough. But that is where Caroline is just getting started.
Throughout the night, Jones showcased her multi-instrumental prowess and sharp songwriting instincts. Acoustic guitar, electric guitar, dobro, harmonica, keys, and even a rarely seen House brand Guitar-Bouzouki (Gazuki) she moved between them effortlessly. Her right-hand work was particularly striking, whether strumming, flatpicking, or fingerpicking with precision and speed.
Jones opened the show with “The Bridge,” flowing into “No Tellin’” and “Divorce in a Small Town,” immediately establishing both command and connection.
That connection was perhaps most evident during “All the Things,” when Jones noticed a young fan in the front row wearing a shirt that read, “I Can Do All the Things.” The shared moment between artist and fan was genuinely heartwarming one of those unscripted exchanges that make a small venue show unforgettable.
During a blistering cover of Led Zeppelin’s “When the Levee Breaks,” she highlighted her slide work on the dobro as well as harmonica skills, bringing grit and edge to the classic track.
Before Zac Brown, it was the legend Jimmy Buffett who recognized her talent early on. She toured with him for years as an opener, and he became both mentor and collaborator. Buffett even wrote “Gulf Coast Girl” specifically for her. Released in 2019 as a duet with Buffett and featuring Kenny Chesney, Lukas Nelson, and Mac McAnally, Buffett’s DNA is obvious in its breezy island feel—yet the song unmistakably belongs to Jones. When she leaned into that island sway live, the crowd happily sang along.
“You’re It for Me Honey” delivered one of the night’s biggest reactions. Opening with a heavy tremolo guitar riff that felt like a Wild West showdown at the O.K. Corral, the song quickly shifted into a groove that was impossible not to move to. Its infectious chorus had the room singing along, clearly a fan favorite.
“So Many Skies,” written about her relationship with her husband and recorded with Matthew Ramsey of Old Dominion, offered a more personal moment. Later, she moved to the keys for “Day That I Die,” which she said was the song from the Zac Brown Band catalog that most represented who they are.
Selections from Good Omen, including the title track, were woven throughout the set, alongside fan favorites from across her catalog like “Chasin’ Me.” “Big Love,” the third-to-last song of the night, showcased her rapid-fire picking and high-octane intensity, raising the temperature in the room before she powered into “Storm Chaser,” and finally closed with “Lawless.”Fans of the Zac Brown Band may have missed the 12-foot angel wings she dons during the Sphere production, but on this night, Jones traded grand theatrics for something even more powerful: a genuine, up-close connection with her audience.
