Album Review – Jason Isbell’s “Live From The Ryman”
Jason Isbell has ascended to being considered the King of Americana by making all of the right moves at the right time. Yes, composing incredible songs, and performing them with passion has been part of the magic that has made him so popular that he’s even broken through the glass ceiling of Americana and found himself nominated for a CMA Award to go along with his multiple Grammys. But it’s also been the expert management of Traci Thomas, the support of Thirty Tigers, the strong work of producer Dave Cobb, and fortuitous timing in general that has put this independent songwriter at the top of the heap in American music.
Isbell’s Ryman Auditorium residencies over the last few years have become a thing of legend all to themselves. Stringing together multiple sold-out nights, putting together important lists of openers and guests, and then delivering when the lights come up has been an important part of his ascent. In some ways his success and reception at the Ryman has been the rock, and the wellspring from where Jason Isbell’s success has emanated. Making a live record from the building only seemed natural, if not necessary.
But the simple truth is that Live From The Ryman is a rare misstep by Isbell and his crew. There’s nothing specifically wrong from the performances on this record, which were taken from his 2017 residency at the Mother Church of Country Music. There’s nothing much to second guess with the set list or sequencing of the record specifically. Perhaps you could wish for a bit more stage banter, or maybe a cool collaboration with someone to make the cut, which is common on live releases. But the ultimate failing of Live From The Ryman is that the record was just poorly recorded to the point of being flat out unflattering to Jason Isbell and the 400 Unit, and unrepresentative of what many have seen them do live at the Ryman and other concert venues across the United States and the world.
Live From The Ryman just sounds bad, and whether it was poor mic placement and isolation from the stage, decisions made in the mixing or mastering process, bad moves when it came to what performances to select, or a combination of all of these things, it just doesn’t result in what you would hope from a record with Jason Isbell’s name printed on the front of it. And what’s even more frustrating is the recordings were made over a six day period, which should have given them plenty of opportunity to listen to what they had, make any necessary adjustments, and get it right to ensure the songs and performances of arguably the most important figure in Americana music were represented well in the live context.
From the opening song “Hope The High Road,” the drums are barely audible, the bass is incredibly boomy, the rhythm guitar is way too loud, and Jason sounds like he’s singing underwater. There’s little clarity, virtually no separation, and the entire experience is so echo-filled, you feel like you’re hearing physical mistakes by the 400 Unit, even if there aren’t any. It’s just too muddy for most of this record, and not something you can blame on the venue, or the players specifically, unless Isbell & Co. were just off six nights in a row, which is hard to believe. And it’s not about sacrificing quality to make sure you capture the energy of the performances. Even the energy feels low, despite the recordings likely having plenty of energy when they occurred.
And when the finish product was being finalized, the people involved must have known what they had was below the standard Jason Isbell has set for himself, and the standards the pantheon of live recordings has achieved over the years, including from eras when technology and understandings of acoustics were not nearly as advanced as they are today.
Emmylou Harris’s At The Ryman from 1992 is a critically-important live record taped in the same space a quarter century ago, and is light years ahead of Live From The Ryman in audio quality. It was also an important record, because at the time the Ryman had been virtually abandoned, and Emmylou’s insistence upon recording a live album in the hall is what helped bring it back to life.
Jason Isbell’s Live From The Ryman is not all bad though. When the instrumentation is drawn down, the bad audio quality issues diminish, and quality performances emerge. The extended versions of “Last Of My Kind” and “Cover Me Up” near the end of the record help rescue the effort, even though they’re still less than ideal. It’s also important to note that live albums, just like EPs, often get relegated to the second tier of an artist’s release menu. If this misstep was made on a studio album, we might be talking about Jason Isbell loosing his momentum. Still, what’s so frustrating about this release is it feels so avoidable. He didn’t have to release this record if the experiment of recording at the Ryman failed.
In the pretty harsh reviews on Amazon and iTunes you can find a few accusations claiming this release is an outright cash grab by the Isbell camp. I’m not sure this is the case. But someone in this process should have put up a stop sign. As a bootleg for Record Store Day distributed in limited quantities, perhaps it flies. Isbell’s Live From Alabama released in 2012 from Lightning Rod Records is a far superior live work from Isbell and the 400 Unit. Frankly, the 2008 EP Live at Twist and Shout released in 2018 as part of Record Store Day by New West—and that Jason Isbell disapproved of and said was no good—is still better audio quality than Live From The Ryman.
This won’t be a career killer for Jason Isbell, because fans are more inclined to overlook a live recording as opposed to using it to define their feelings on an artist. But it’s nonetheless disappointing because it could have been such a cool release as a capstone to Jason Isbell’s Ryman experiences, and continued to help carry the momentum of his career until the next studio release. Now a new studio record can’t happen fast enough to remove the bad taste. Sales of this record have also been strong due to Jason Isbell’s loyal fan base and specifically from pre-orders before full previews were available. They trusted him and his team, and it’s understandable how some feel let down.
The songs, and many of the performances captured on Live From The Ryman are still strong. It’s not like this record is a complete dud. But it could and should have been so much better. Audio quality was an unforced error, and now your only opportunity to experience the magic of Jason Isbell at the Ryman will be if you’ve seen him there before, or can catch him there in the future.
LG
November 6, 2018 @ 8:36 am
I agree. Good songs performed well, but there’s no real artistic reason for this to exist. It’s just product. It’s a concert t-shirt you can listen to.
Bill
November 6, 2018 @ 8:48 am
Exactly…these performances added virtually nothing to the originals.
Cameron
November 6, 2018 @ 8:50 am
I haven’t listened to this one but it pisses me off that his other albums all play at a lower volume than anything else I own. I shouldn’t have to adjust my volume when one of his songs comes on because his production blows. Maybe his hearing is fucked up and no one wants to tell him.
Black Boots
November 6, 2018 @ 8:54 am
That’s just a mastering issue. Maybe he’s not into the loudness war
Kingpete
November 6, 2018 @ 8:51 am
Huge Isbell fan but can’t argue this review.
Would also offer Band of Horses – Acoustic at the Ryman from 2014 is another example of it done right.
Lowcountrygirl
November 8, 2018 @ 11:33 am
The Band of Horses Ryman album is fantastic. Marry Song gets me every time!
Black Boots 3, The Search For 2 (Take that "You're posting too much")
November 6, 2018 @ 8:53 am
How many others like Amanda Shires a lot more than Jason Isbell? I like his lyrics, but find his melodies kinda boring most of the time. He also comes off extremely patronizing and arrogant, but maybe that’s just me?
LG
November 6, 2018 @ 9:01 am
Her new album is to me stronger than his last one. As a semi-reformed punk rock kid, I prefer uptempo.
Black Boots
November 6, 2018 @ 9:50 am
I come from the same scene, but definitely find myself liking less aggressive/loud stuff these days. I still love the classics but just listen to it less.
North Woods Country
November 6, 2018 @ 9:08 am
She’s not a good enough singer for me to prefer her music. Her lyrics get lost in her breathiness.
Black Boots
November 6, 2018 @ 9:48 am
I can see her voice being polarizing. It didn’t click for me until i heard her newest album, but now i love it. I like her quirkiness.
She’s also dropdead gorgeous but that’s neither here nor there musically.
A.K.A. City
November 6, 2018 @ 11:50 am
I think that Shires has been self conscious about her voice before, but on her new album, she uses it as an instrument. She took her “weakness” and made it into a strength.
tucker33585
November 7, 2018 @ 8:45 pm
I really liked fer first album but haven’t cared for the last two
Speedlimit9
November 6, 2018 @ 5:52 pm
Also in the fan of her voice camp. It’s got a unique tone that I really enjoy.
Nick
November 8, 2018 @ 10:03 am
He definitely comes off a little high and mighty. Not quite Dylan levels of arrogance but maybe give him 20 more years of being heralded as the next best thing.
Live albums, to me, should capture the live setting. His last one did that. Production aside my first thought was how stiff and dismissive he came off. There’s no way he didn’t speak a non-lyrical word during those shows, and it’s a shame the banter and intros were left out. Makes him seem even more distant from us regular folk
liza
November 11, 2018 @ 2:10 pm
I don’t think he’s high and mighty. He just is unashamedly who he is and doesn’t change that to meet anyone’s expectations.
Sereng3ti
November 6, 2018 @ 9:04 am
I feel like they should have captured how loud that big drum is during Cover Me Up…it was a bit disappointing.
Tex Wasabi
November 6, 2018 @ 9:16 am
Here’s 2 unpopular opinions…Jason Isabell’s music is a total pain in the ass and boring, and the Ryman is actually bad as a concert venue. Half the seats are basically useless.
Trigger
November 6, 2018 @ 9:24 am
If you can’t get into the first 8 or so rows on the floor in the Ryman, go for the balcony. Not a bad seat in the balcony, and the acoustics are brilliant. In the back on the first level is pretty terrible. Low ceiling creates bad sound, poles everywhere messing up site lines. Don’t bother.
Sheffib32
November 6, 2018 @ 11:48 am
I was at his Ryman show on 10/28. In the balcony, center isle, halfway up. First time at the Ryman and 4th time seeing Isbell. Every other time I’ve seen him I thought the mix was excellent. At the Ryman show I felt like they were trying to blow me out of the room. I felt like it would have been better if everything was pulled back 10%, Amanda’s voice and fiddle were washed out for much of the show. From all the talk of the Ryman I expected it to have these amazing acoustics but was left disappointed.
After going to that show and then listening to the album again I think it matches what I heard perfectly. I find it baffling because at times he’s had the best mix I’ve heard from a live band.
norrie
November 6, 2018 @ 9:52 am
It’s not a bad live album but should have been much better regarding the sound.Each if the four times I’ve seen him live (in Scotland at three venues) the sound has been amazing.On Cover Me Up before the last chorus when it builds up the drums sound jaw droppingly good as they reverberate around the hall.We get nothing of that here. Also the crowd are a pain on some parts. Every time I’ve heard him do Elephant you could hear a pin drop after the first guitar strum to the very end with even a slight pause before the audience reacts here you get whooping and hollering while he’s singing it which is totally against the spirit of the song. Maybe it’s just an American thing but it’s a pity they didn’t or couldn’t edit it out or find another performance where the song was more respected.
Conrad Fisher
November 6, 2018 @ 10:46 am
It’s probably an American thing. I’ve never been to Scotland, Ireland, or the U.K. but I’ve been told by a lot of musicians that folks listen with more intent over there.
Charlie
November 6, 2018 @ 10:14 am
That’s a shame. The Brian Setzer Orchestra sounded so good there you could have used one of those Flintstones bird dictaphone machines and got a Grammy winning recording out of it.
Mphopkins99
November 6, 2018 @ 10:52 am
My only beef with this album is that it could have been an entire show instead of just selections from last 3 albums. He does great covers nightly and there’s none here. I’d have gladly paid 2x what I paid for this to get a full show.
StopPopCountry
November 6, 2018 @ 11:00 am
I still bought it and enjoy it, but I agree there are some issues with it. I’ve also seen him live 3 times which may enhance my appreciation of it.
Something More Than Free and Cover Me Up are just so powerful live and better than the recorded versions. On the other hand, some of the punchier tunes sound very muted in this. Kind of weird production.
E
November 9, 2018 @ 3:28 am
I was a little disappointed they didn’t include “Never Gonna Change” on it. It’s always a highlight of his live show for me and I would love to hear a newer version than the original DBT version.
Blake
November 6, 2018 @ 11:14 am
Was at one the nights of this run. Chad’s drumming on “Cover Me Up” stopped my heart, and what I was most looking forward to when this was announced. I was disappointed to say the least. I have to go back to the livestream to hear it.
ScottG
November 6, 2018 @ 11:23 am
Couldn’t agree more about this review. I dissagreed with Trigger on some past “production” discussions, but this one is a no brainer. As I said on a previous post, this sounds like an off the board 2 track mix, and a bad one at that.
P.S. I see a lot of people mention mastering as a reason for bad sounding records. Though it can have some effect (as Black Boots mentioned above), the overwhelming impact on a record is in the recording and mixing. Mastering, though important, especially when done right, should have a very subtle effect.
Snarky Anarky
November 6, 2018 @ 11:32 am
on a technical level, I couldn’t speak to that – but when i first listened to it, i thought the full set performance floating around youtube of his House Of Blues show from a couple years ago was more exciting. i didn’t think it was terrible but if i hadn’t pre-ordered it i probably would’ve passed on it.
kinda bummed me out cause i’d read some pretty awesome reviews of the ryman shows this year
A.K.A. City
November 6, 2018 @ 11:53 am
I’m a big Isbell fan, but this record fell flat for me. I agree with this review, and I really wanted to like the album. I’ve also heard complaints that the various vinyl pressings had worse issues than the digital version that I listened to.
Tyler Dunn
November 6, 2018 @ 12:11 pm
I was at one of the Ryman Shows last October. My first concert and I thoroughly enjoyed it. I definitely think that this record did not accurately capture the sound of the show, and I agree that the album as a whole could have benefited from Isbell’`s stage banter as well. Only song on this one that I really enjoyed was “cover me up,” because I feel like he packed a little more into it.
JB-Chicago
November 6, 2018 @ 12:14 pm
Even though I wasn’t a fan of his per se I always like giving an artists “live album” or current setlist
to try and excite me into being a fan. I gave this a full listen and the mix bothered me as you’ve all said. His songs just don’t grab me either. I just kept thinking why didn’t Cody put out a live album before Lifers to culminate the incredible I’m Not The Devil tour/setlist with perfect production of course.
matt2
November 6, 2018 @ 12:26 pm
my biggest disappointment is the track list. i mean the setlists from those shows all appear to be roughly 20 songs/night, yet they only released 13 tracks? And my favorite part of live albums is hearing the covers. Why not include Little Wing, Melissa, Wrote a Song For Everyone, Mutineer, Like a Hurricane, etc. Adding even a few of those would have made up for it.
The Dot
November 6, 2018 @ 2:55 pm
Eh. It’s not like he’s known for electrifying live performances and witty stage banter. Live, he’s not amazing, but he’s not phoning it in either. Every show I’ve seen, “Codeine” is the exact same thing – right down to the band walking around on stage, so happy that didn’t get included. 😛
This was 1 of the Ryman nights, I think – there were mentions when he performed these dates that security was cracking down one night in particular on the recordings.
I was thrilled to see “Elephant” in there. Thought the vocals on “Cover Me Up” showed the perfection of his live performance. Would have dumped Cumberland or Flagship for “Children of Children.”
But if you compare his voice now to his Live from Alabama voice, he’s come a long way since getting sober and kicking cigarettes.
I’m over Dave Cobb as ‘the wonder producer’. He’s all about reverb and tricks and weird overlays. (What he did to Ashley McBride’s release was criminal). His stuff sounds muddled in the studio, so why would we expect it to be suddenly crystal clear on a live set?
Dan
November 6, 2018 @ 3:32 pm
I am stunned to hear all of the complaining. Truly stunned. I must not have an audio engineer’s ears like the rest of you. This album sounds good to me! It captures the feel of a live show perfectly. I have lots of live albums from different artists. Everything from class country to classic rock. I have Led Zeppelin bootlegs that I listen to all the time. I have Jason’s previous live album. I just don’t understand all the complaining. My only complaint, I gues, is that I wish there were more songs. But I have absolutely no problem with the sound quality. In fact, I like it! It feels weird to me to be in such the minority here.
Cobra
November 6, 2018 @ 7:25 pm
Not only that, but for me, it captured the sound of the Ryman.
ScottG
November 6, 2018 @ 11:05 pm
Are you serious?
Brickman
November 6, 2018 @ 7:19 pm
I love the Isbell studio albums. And usually I’m into live albums. This review is spot on. The drums are lost in the mix and they sound flat when you can hear them on some later songs. The rhythm guitar is too loud. The bass goes in and out. I couldn’t wait to get this CD. But there should have been some quality control to keep an album of this poor sound quality from being released. Isbell YouTube videos recorded with cell phones sound better then this CD.
Mike2
November 6, 2018 @ 7:30 pm
I haven’t bought this album but that version of Hope the High Road is even worse than I imagined based on the review. How did this happen? If I were Jason I would get a new producer.
Dan Morris
November 7, 2018 @ 6:22 am
Jason and the Unit live streamed the Oct 13th 2017 show from the Ryman and the sound quality and mix was great. Jasons voice seems to be much more pushed to the forefront in the Hope the High Road Trigger has provided from the album. I’d have to agree that someone got too involved mixing this in the studio when they maybe should have left well enough alone. For some reason the live albums release has been pushed back until Nov 9th up here in Canada but I’ve got a copy reserved and am looking forward to picking it up.
James Barefoot
November 9, 2018 @ 10:27 pm
Yeah, I remember that livestream. I think he livestreamed at least a couple of those shows. And I have to agree with you, if I’m thinking of the same show that you are talking about. The mix, although not perfect, was surprisingly crisp and more than adequate considering it was pretty much being broadcast from the raw soundboard. The album sounds exactly like somebody was inexplicably trying to prove a point that didn’t need proving while mixing it.
Dave
November 7, 2018 @ 8:37 am
Did anyone else notice the tempo change mid song during 24 frames?
Ryan
November 7, 2018 @ 9:48 am
I first listened to the album in the car on the way home and was shocked at how bad it sounded. I had the phone volume down a few notches from normal, increasing helped a little, but it still just sounded flat, the drums were poorly mic’ed, etc. Having experienced one of the October 2017 shows, this recording utterly fails to capture that sound or energy.
I’ve historically enjoyed Jason’s music, pre- and post-renaissance. The Nashville Sound fell out of my rotation quicker than the previous two albums–I just got tired of the political element. He’s entitled to his viewpoints and to putting them in his music, I just don’t care to hear them repeatedly. Unfortunately this album won’t even make it into rotation, purely on the sound alone.
Moses Mendoza
November 7, 2018 @ 2:46 pm
Mostly agree, but I thought the version of Super 8 on here was also pretty good. That’s a song I like live but don’t love on SE.
Mark
November 7, 2018 @ 4:39 pm
I saw Jason play with DBT on every tour he had with the band, and he was excellent. But I haven’t seen him since going solo, so I was really excited for this live release. Talk about a let down. It’s gotta be the lamest live album I can remember ever buying. No life to it whatsoever. The songs are all good songs but there’s definitely something major missing … energy, life, pizzazz, etc. Just sounds kinda dead.
I don’t know if it’s the mix or what but this is a huge disappointment in my book.
Che
November 8, 2018 @ 10:25 am
Am I the only one that was turned off by the “tin sound” of his last album?
Nashville Sound is unlistenable IMO
After this and his last album, I will no longer be preordering his music
Montysano
November 8, 2018 @ 5:35 pm
I still actively mix live music. It’s my weekend hobby. So I think I have a decent ear. But to be fair, I’m a massive Isbell fan.
While I agree that the first song is problematic, the rest of the album sounds quite good. I think Cobb was going for a truly live sound, so it sounds like the ambient mics are more forward than usual in a live album.
This is based on listening to the green vinyl version, on Sennheiser headphones through a Dark Voice tube amp.
Ben
February 20, 2019 @ 5:31 pm
I agree. Felt bad not liking this album because I’m such a huge Isbell fan, but glad I’m not the only one thinking this way. The recordings just seemed a bit shrill with no warmth. His vocals were raspy and sounded strained. Oh well, ready for the next studio album!