Jason IsbellS Acoustic Evolution: Crafting ‘Foxes in the Snow’
Jason Isbell is a versatile guitarist,seamlessly transitioning from the powerful tones of a vintage gibson Les paul to the soft,intimate strumming of an acoustic guitar. This duality is beautifully showcased in his upcoming solo album, Foxes in the Snow, set to release in 2025.
During the pandemic, Isbell honed his acoustic skills, dedicating countless hours to guitar practice. His fingerpicking and strumming techniques shine throughout the album, yet they remain understated, always enhancing the intricate melodies of his well-crafted songs.
Once a member of the Drive-By Truckers and now a budding actor-having appeared in Martin Scorsese’s 2023 film, Killers of the Flower Moon-Isbell primarily leads his band, the 400 Unit. Though, he takes a solo journey with Foxes in the Snow.
Rediscovering the Acoustic Sound
For this project, Isbell relied heavily on a vintage Martin acoustic guitar he recently acquired. His choice of the small-bodied instrument sets him apart from the many loud bluegrass players and heavy-handed strummers in today’s Americana scene. His tonal focus leans towards the mid to upper ranges, frequently enough enhanced by using a capo. A prime example of his precision can be heard in the intro of “Ride to Robert’s,” where his hybrid picking technique shines through.
In response to Isbell’s growing popularity, Martin quickly introduced two new signature models: the 0-17 Jason Isbell and the 0-10E Retro Jason Isbell, along with a specially designed set of Era strings featuring red silk-wrapped ball ends to protect the delicate tonewood bridges.
In a recent Zoom interview from Nashville, Isbell shared how his search for a compact acoustic guitar in New York City led to unexpected creative breakthroughs.
Crafting a Unique Acoustic Style
“I wrote most of the songs using the same guitar that ended up on the recordings,” Isbell explained. “While staying at my girlfriend’s apartment in New York, I needed a smaller guitar as my Nashville home is filled with various instruments. I found a 1940 0-17 at RetroFret Vintage Guitars in Brooklyn,and as soon as I started playing it,new songs began to emerge.”
When he entered the studio at Electric Lady in Greenwich Village, Isbell initially planned to use multiple guitars. Although his D-18 sounded great, it didn’t fit the project’s needs. He realized he required an instrument that could adapt dynamically while not overwhelming the overall sound. The 0-17 proved to be the perfect choice.
choosing the Right Instrument
It’s intriguing that a musician known for his signature dreadnought would opt for a smaller 0 body size for a solo acoustic album. Typically, artists select smaller guitars to cut through a mix, yet larger guitars are favored for solo performances. Isbell shared his outlook: “I don’t see the 0-17 as having a smaller sound, but rather a quieter one. It draws the listener in differently than a larger dreadnought might. For this album, balance was key; I wanted the listener to remain immersed in the experience without distractions.”
He emphasized the importance of finding an instrument that meets all his requirements. “You can’t let the quality of your guitar limit your creativity. Achieving the dynamic range I sought wouldn’t have been possible with a poorly constructed instrument.”
Exploring Musical Themes
Isbell elaborated on the unique characteristics of his 0-17 guitar, noting that each instrument from that era varies significantly due to handcrafting. “mine features a comfortable V-shaped neck that flattens out towards the body, making it very playable,” he explained.After acquiring the 0-17, everything fell into place quickly. He recorded the album within a week at the end of winter, with a release planned for march. This rapid process mirrors the creation of many classic records, including early works by Bob Dylan, where simplicity and storytelling take center stage.
“Ride to Robert’s” features a captivating guitar intro.Isbell described it as being in F# and tuned to DADGAD with a capo on the fourth fret. “The intro is the challenging part, requiring a slide for the position change. The main theme is based on a simple V to VI chord progression,” he noted. While it may seem like a fingerpicking part, Isbell uses a pick, employing a hybrid picking style with a Tortex 1.14mm.
When discussing “Crimson and Clay,” Isbell mentioned it’s in F# minor, using standard tuning with a capo at the second fret. He plays primarily from C to Em7 chord shapes, keeping his ring finger on the second string for added suspensions. “That finger rarely leaves it’s position throughout the song,” he added.
For “Eileen,” he explained, “It’s in G, and I’m playing in standard tuning. The trick is using a B minor shape while keeping the G string open. I adjust the bass note to C and then back to G, which can be a bit tricky.”
Bringing New Material to the Stage
Isbell confirmed that he incorporates four to six songs from Foxes in the Snow into his live sets with the 400 Unit. “We’ve developed some intriguing full-band arrangements, which is exciting as I didn’t initially envision that. We also perform a few songs with just me and my guitarist, Sadler Vaden, on acoustics, and I might even do a solo performance of one,” he shared.
Signature models and Craftsmanship
Isbell confirmed that he plays one of the new Martin signature models inspired by his 1940 0-17. “I wanted the 0-17 version to be as true to the original as possible, which is a limited release of just 50 guitars.The craftsmanship involved, especially in replicating the neck, was a significant challenge. The body is crafted from sinker mahogany, and Martin used Brazilian rosewood for the bridge and fingerboard, which was a dream come true for me,” he explained.
He added a Fishman Matrix piezo pickup under the bridge, running the signal through a Fishman Aura Spectrum DI pedal during performances. “This guitar meets all my needs, but I also wanted a second option that’s more accessible and affordable for fans,” he noted.
Isbell believes that guitars produced in Mexico by major manufacturers are often underrated due to player biases. “Once you move past those preconceived notions, you realize the craftsmanship is on par with anything else,” he stated.
The 0-10E Retro model shares a similar aesthetic, made entirely of mahogany, but features a different finish and a slimmer neck for added comfort, especially for newer players. “I’ve spent years adapting to thicker necks, so I’m fine with that, but the 0-10E does allow for faster play, which is a matter of personal preference,” he explained.
“I didn’t wont to create a cheaper version of a more expensive guitar. I aimed for distinct choices,and I believe we achieved that. The 0-10E has built-in electronics, making it stage-ready without sacrificing quality,” he concluded.
Reflecting on Growth and Future Aspirations
With the recent 10-year anniversary remaster of Something More Than Free now available on Spotify,Isbell acknowledges his growth as a guitarist.”I’ve become a much better player over the past decade. during the lockdown, I spent countless hours playing guitar, exploring everything from electric to acoustic,” he shared. “I had released an album just before the pandemic, and while I couldn’t tour, I focused on playing to maintain my sanity.”
He noted that he has bridged the gap between his musical ideas and execution. “As I age, my desire to play guitar only intensifies.It may not be the trendiest pursuit, but at this stage, I’m simply focused on what I love,” he stated.
Looking Ahead
Isbell aims to refine his fingerstyle techniques and enhance his slide guitar skills. “Slide playing is incredibly rewarding due to its expressive, vocal-like quality. My favorite guitar styles often involve playing fewer notes to convey emotion,” he explained.
He recalled a conversation with warren Haynes about how playing fewer notes can lead to a more profound sound. “When he first got his Les Paul, he played less because he appreciated the sound so much. If the guitar is right, I find myself playing fewer notes as I progress,” Isbell concluded.
