By Brian Wise.
JASON ISBELL: FOXES IN THE SNOW (Thirty Tigers/Civilians)
Where does the time go? It seems like just a few years ago that Jason Isbell was starting out on a solo career after a stint with the Drive By Truckers. But it was fifteen years ago and he was on his first visit to Australia, accompanying Justin Townes Earle. It was not long after the release of his first album with the 400 Unit but on this tour he played solo acoustic sets that impressed but were hardly even a hint of what was to come.
Since then, Isbell has been through some tough personal times and overcome them through sheer dint of character. He has married, had a child and, then after 10 years, divorced (fodder in itself for an album). He also managed to forge a stellar career, while his friend Justin was not so lucky.
With 10 albums, 6 Grammys and 9 Americana Awards under his belt, Isbell has become one of the major names in the entire Americana scene. His distinctive guitar riffs, born from the well-spring of time with the Truckers, have captured a huge audience for his brand of powerful country/rock. A starring role in Martin Scorsese’s Killers Of The Flower Moon in 2023 has added to his already considerable profile. Isbell’s 2023 tour here with the 400 Unit, and Allison Russell in support, was a triumph and was a fine example of a musician at the absolute top of his game. (He is returning later in the year for a tour with Paul Kelly).
Now, Isbell returns to basics with his first ever fully acoustic album, said to be partly inspired by some of the great singer-songwriters of the 1970s. It is the way that fans here might have initially seen him and is yet another measure of his talents.
Foxes In The Snow was recorded in October of last year not in Nashville as one might have expected but in New York City at the famous Electric Lady Studios. Isbell enlisted co-producer Gena Johnson with whom he has worked since The Nashville Sound in 2017. The album was recorded on Isbell’s 1940 Martin 0-17 acoustic guitar in just five days. It is Isbell musically naked without any other musicians or a wall of guitar sonics as a backdrop. This seems a brave move for a musician who is mostly known for fronting a band.
Given the recent events in Isbell’s life, it seems to be a statement that he has taken a step back for reflection and wants to share his thoughts on a more personal level with listeners. (It doesn’t necessarily mark a pause in Isbell’s career as he is going back out with the 40o Unit from March until September).
This time he is out front alone and able to demonstrate his considerable skills as a guitar-player; and it is not just a series of chords, he draws on a variety playing styles to carry the lyrics. The fact that Isbell spent time at Muscle Shoals and in the Truckers means that he is well-equipped for this sort of project which is one of the hardest to pull off and maintain interest in. From the start, it is easy to hear Isbell’s songwriting skills shining through on the eleven songs, each of which has its own distinctive character. Isbell is also endowed with a mellifluous voice which is really highlighted on this album where the production achieves a flawless balance with his guitar.
Commendably, Foxes In The Snow’s 11 songs clock in at 38 minutes with only two songs over 4 minutes. This seems to me to be just about the perfect length and, while my concentration might be challenged by anything over this length, it was amazing how often I would get to the end of the album and couldn’t believe it was over! (As I like to remind people, Ry Cooder’s first six albums were all under 40 minutes).
Foxes In The Snow is perhaps a watershed album for Jason Isbell and marks yet another highpoint in an already remarkable career.
You can read the full review in the latest print or digital edition of Rhythms.
Jason Isbell will be in Australia from August 26 to September 7.