First solo acoustic record sees the americana legend in transition.
As one of what appears to have been a small number of people who found Jason Isbell’s previous album, “Weathervanes” a bit underwhelming, being asked to review his new record came with a dollop of trepidation. Isbell has performed solo acoustic over the years but “Foxes In The Snow” is the first time he’s committed to an album fully dedicated to the format.
“Foxes in the Snow” was recorded over five days in New York City at the Jimi Hendrix-founded Electric Lady Studios in October 2024. On the record all we hear in addition to Isbell’s voice is his all-mahogany 1940 Martin 0-17 acoustic guitar, which means an extra challenge to him as a songwriter in that there is no storming band performance or studio wizardry to paper over any cracks.
Isbell has often been asked whether his songs are autobiographical or songwriter’s “stories” in the Nashville vernacular. He has also explained that once a song is out there it belongs to the listeners in part as well.
“Foxes In The Snow” references several familiar Isbell themes but two key threads running through it are the deterioration of his relationship with ex-wife Amanda Shires and his feelings for new girlfriend, Canadian artist Anna Weyant. Isbell hasn’t said a whole lot about either subject which leaves the listener to make their own ‘fact or story’ call.
Isbell opens his account with an unaccompanied vocal leading into the album’s first track ‘Bury Me’ which creates a folkie mood. The guitar drops in and we get a fairly orthodox folk song with some blues guitar touches recalling early solo work, The second song ‘Ride To Roberts’ is part homage to the legendary Robert’s Western World honky-tonk on Nashville’s Broadway and part reflection on a summer’s afternoon in Tennessee. There is also an allusion to a relationship, but the meaning is left to the listener.
Meanwhile ‘Eileen’ musically harks back to Isbell’s typical softer song structure, while lyrically providing a reflection on relationships disintegrating and may – with its reference to an unread letter – be hinting at Shires’ unlistened to song. ‘Gravelweeds’ has Isbell returning to familiar themes of growing up with certain expectations leading into a story of someone who has changed and outgrown his parent or a relationship – “I’m sorry the love songs all mean different things today”.
Isbell has often written songs using the imperative and ‘Don’t Be Tough’ falls into that group; in some ways reminiscent of ‘Outfit’ but lacking its lyrical bite. ‘Open And Close’ opens with a frilly guitar figure before slipping into a style that sounds like it could be an outtake from “Here We Rest”. It’s also the first song overtly about stepping into his new relationship.
The title track takes its name from a children’s book about fox cubs frolicking in the snow. In reaching to express his love for his new partner, Isbell veers dangerously close to twee territory and it’s hard to see this one lasting in the repertoire. Next up is ‘Crimson And Clay’. This is more familiar territory for Isbell – talking to his symbiotic relationship with his Alabama heritage. The lyric touches on a lot of the Southern symbolism with which fans will be familiar.
‘Good While It Lasted’ is a song which could be interpreted as a reflection on the arc of his and Shires’ relationship starting with the quest for sobriety leading into a bittersweet contemplation of something good but gone. ‘True Believer’ is the song Isbell has been closing his solo acoustic tour in which we hear him express some bitterness at the breakup “All your girlfriends say I broke your fucking heart /And I don’t like it/ And there’s a letter on the nightstand/ I don’t think I’ll ever read”. The set list position makes the listener think this may be something of a statement.
The final track on the record ‘Wind Behind The Rain’ is another love song where the singer is expressing his affection overtly, questing permanence. The song feels more like a coda to what precedes it but may be a good indicator of where Isbell is today. These are, of course, one listener’s reaction and who knows where on the fact or story continuum reality sits.
“Foxes In The Snow” feels like a transitional album perhaps pointing a new way for Isbell as an artist. With foundations in the present as a well as the distant and near past, it’s a solid collection of songs albeit without a standout matching the best of his work.
