In Variety’s feature story this week on Jason Isbell, a lot of territory was covered: where he fits in genre-wise, his willingness to be an emblem for rock’s recovery movement, the blow…
So we reunite you with the thoughts and words of Isbell via this bonus Q&A, in which the venerated singer-songwriter touches on those topics and more, including where the hidden jokes are in his songs, and why he doesn’t worry about playing a cancer ballad in the middle of the afternoon at a rock festival. So especially if you have “Elephant” on, or a touching new song like “St. Peter’s Autograph” or “Letting You Go” — or even if you don’t — read it and weep.
Yeah, I think so. But I don’t mind people listening to it one song at a time or skipping around or just downloading one song; that doesn’t bother me. I put the work into sequencing and all that just for the people who want to listen to it that way, because I normally listen to albums that way. That’s just my nature.
But you know, there are jokes in “Elephant.” There are lines that are very much meant to be funny in that song. I just think it’s a situation where not everybody knows if it’s okay to laugh, because the humor in my songs is very subtle and very dry. I remember right around the time when I met John, Amanda and I had gone to see a movie, and John had gone to see it that same weekend.
It does seem like Twitter has been an outlet for your humor. It’s probably because you’re so good at economy in your songwriting that you do pretty well in 250 characters. [Doing] that, to me, you take away the separation between the reenactment of an experience and the experience itself. And I think when you do that, you move the audience closer to the screen. I think that’s when a song works its best for me, is when the audience feels like they’re actually in the movie. To do that, you have to work really hard to keep narrowing the distance between you and them.
You know, I don’t always do “Elephant.” That one to me is sort of dependent on the situation. “Elephant” and then the song “Dress Blues” that was on my first solo record, those two aren’t for every audience. Now, it doesn’t mean that I won’t play ‘em at 2 o’clock in the afternoon on a big festival stage. I’m not afraid of that, but I feel that those songs move people in a way that you have to be aware of and you have to be respectful of.
Thinking of the character in that song, there could be some kind of correlation to the guys in “Last of My Kind’ or “Cumberland Gap” — guys who seem stuck somewhere they don’t necessarily want to be, as other people have moved on, and maybe feeling like strangers in a strange land, even though these are their homes.
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