Alison Krauss & Union Station is a lot like the Los Angeles Dodgers.

It truly is a band with an All-Star at every position.

Unlike the Dodgers, who only have the fourth-best record in the National League and are struggling to hold onto the lead in its division, AKUS doesn’t disappoint or underperform.

The band came to Jacobs Pavilion Sunday for its first tour together in a decade in support of “Arcadia,” its first album since 2011.

It was a homecoming for Leavittsburg native Jerry Douglas, the dobro master who’s played with everyone — literally. Douglas estimates he’s appeared on about 2,400 records and recently worked with Eric Clapton — but clears his schedule when Krauss calls.

Douglas spent the day with some of his old friends from the neighborhood, and they were in the crowd Sunday. While his Ohio roots got a big cheer from the Cleveland audience, he joked he wasn’t so well received the night before in Michigan. The Ohio mention got boos in the state up north, but Sunday’s audience returned the favor whenever “Xichigan” was uttered.

Douglas got even more cheers for his playing, whether it was his fleet intro on “Choctaw Hayride” or his nightly solo showcase in the middle of the set.

On Sunday it was Paul Simon’s “American Tune” flowing into Chick Corea’s “Spain,” a piece that displays his virtuosity and demonstrates his ability to reinterpret a diverse repertoire for the dobro.

He recorded the piece 13 years ago for his “Traveler” album, but it’s hard not to wonder if there isn’t a bit of political commentary in its selection. It combines a literal “American Tune” with the birthplace of the language that’s most likely to get someone targeted by ICE agents in 2025 if they’re overheard speaking it.

Over two-plus hours and more than 30 songs, Alison Krauss & Union Station played the concert equivalent of a perfect game. Never has a crowd been happier listening to sad music.

Krauss even joked about it during the show, saying the band has one sexy song and one happy song. The rest are tunes of lost love and heartbreak, historical ballads of death and tribulations. Krauss’s pitch perfect soprano eases the pain of the stories the lyrics tell. And while the songs may be somber, her between-song banter and playful introductions of her bandmates produced plenty of chuckles.

Krauss isn’t the only vocal power hitter in the band. In a very Dodgers-like move, after long-time Union Station member Dan Tyminski decided he wanted to focus on his solo career and passed on the current reunion, the band added Russell Moore, a six-time winner of male vocalist of the year from the International Bluegrass Music Association, to take his place.

He sang lead on several tracks, and his harmonies on such songs as “Ghost in the House” were just as impressive.

The band also is joined on tour by fiddle and mandolin player Stuart Duncan, a four-time Grammy winner whose collaborators range from Yo-Yo Ma and Chris Thile to Robert Plant and Elvis Costello.

Ron Block, banjo, guitar and vocals; and Barry Bales, bass and vocals, who both started playing with Krauss more than 35 years ago, round out the musical Murderers’ Row.

The arrangements give each musician multiple opportunities to stand out individually, but it’s the sound that the band makes as a cohesive whole that is best.

Krauss’s vocals on the Block-penned “The Lucky One,” the seamless fusion of “Baby, Now that I Found You” into “Wish I Still Had You,” Duncan’s and Krauss’s fiddle duel on “Orange Blossom Special” and a gorgeous rendition of “When You Say Nothing at All” to start the encore were a few of the many highlights.

Douglas said in an interview in last week’s Ticket that another album and tour are planned for 2026, so there’s a good chance AKUS can earn back-to-back titles as one of the best shows of the year.

Andy Gray is the entertainment editor of Ticket. Write to him at agray@tribtoday.com.