Jason Isbell – Foxes In The Snow

Isbell is a busy boy and seemingly peripatetic. Late 2024 saw him performing at the Democratic National Convention to nominate a US Presidential candidate. From here it was over to Europe for some gigs (including appearing in front of me in Stockton with his band, the 400 Unit, in late November.) Next year sees him embark on a long international solo tour including London and finishing in Australia. In October he spent five days in New York at the legendary Electric Lady Studio (Jimi Hendrix, Stevie Wonder, David Bowie, Adele and Taylor Swift) recording a solo album. You’d worry that the quality of his creative output would slip with his schedule but the needle is still well away from the red zone on the gauge judging by this release.

Isbell delivers eleven songs of heart torn melancholia and contemplation on a 1940 acoustic Mahogany D-17 Martin guitar. I’d grown used to him shredding his Telecasters or Gibsons with the 400 Unit and creating some epic, layered and dramatic rock: here it’s the voice and the tunes that attract your attention. Such is Isbell’s talent on an acoustic six string that when coupled to the arrangements he could have released these tracks as instrumentals and you’d still be engaged.

Lyrically there are first person conversations or reminisces that reflect a state of mind rather than tell you a complete story. After the ending of his marriage in 2023, to Amanda Shires, it’s not unnatural to think they influenced the work. Each song gives up more after several listens as you try and interpret the story. Some are plainer to understand such as Good While It Lasted, a love song drips regret or the chipper Don’t Be Tough that lists situations and how you should respond, usually with less judgement and more giving. Foxes In The Snow is another love song where both parties evaluate the other. Gravelweed offers probably the strongest tune with a sublime chorus but there isn’t a weak moment on the album musically.

I’ve long thought that Isbell is amongst the current family of Americana royalty. He’s received many awards and I feel, in his case, they’re well earned. As for many others I often feel other recipients are propelled to the podium by large record company budgets. This comfortably slips into his current canon and doesn’t push the envelope to new areas in terms of his established vocal delivery, lyrical naval gazing, types of tune and song structure. It’s a continuation but stripped back with less pyrotechnics. Outstanding.