Review: Jason Isbell at Brevard Music Center
How often do you get to see one of our best singer/songwriter/guitarists perform in the same spot where you gave a speech during your high school graduation?
Such were the convergence of circumstances at Jason Isbell’s July 19 solo show at Brevard Music Center’s Whittington-Pfohl Auditorium — a pristine setting more accustomed to symphonies and, yes, public school commencements than rock stars, yet one that’s an excellent fit for practically anyone willing to go acoustic.
On the final stop on his solo tour before a month’s hiatus, Isbell acknowledged his elevated surroundings early in the set when, after audience “whoops” upon hearing the start of “Live Oak” disrupted his a capella intro, he noted that he needed the silence or else he “might wind up in any key” — and that simply wouldn’t do in a proper music hall.
Quality banter of that caliber permeated the 21-song concert, the best of which followed “King of Oklahoma.” Written while Isbell filmed Martin Scorsese’s Killers of the Flower Moon, the selection gave way to a hilarious anecdote of co-star Leonardo DiCaprio’s fascination with Walmart where, during the COVID-19 pandemic, he’d mask up, put on sunglasses, and go shopping — until he suddenly didn’t.
As expected, the intimate environment yielded raw, stripped-down takes on such fan favorites as “Traveling Alone,” “Alabama Pines,” and “Cover Me Up” that allowed Isbell’s immense skill set to shine in ways that his thrilling amplified shows can’t offer. On the Music Center stage, his voice sounded richer than ever. And though his talents as a guitarist are well established from his shows with his band The 400 Unit and back to his days with Drive-By Truckers, witnessing him showcase these gifts on acoustic guitar with no safety net of a backing ensemble frequently bordered on jaw-dropping.
From within these entrancing confines, one of the songs from Isbell’s catalog best suited for this classic singer/songwriter presentation thrillingly emerged late in the set. Making its Asheville-area debut, “Maybe It’s Time” — Isbell’s contribution to A Star Is Born, beyond writer/director/star Bradley Cooper famously shadowing him to inform his rock star character — finds the artist simultaneously at his catchiest and most insightful and remains the apex of his songbook.
Somewhat predictably ending with “Cover Me Up,” Isbell compensated with a well-curated encore composed of a cover (Townes Van Zandt’s “Pancho & Lefty”), one of his Drive-By Truckers contributions (“Outfit”), and arguably his most beloved song (“If We Were Vampires”).
If that’s not satisfaction, the concept may very well be a myth.
(Photo by Eli Johnson)
