High Road | Music | Salt Lake City Weekly

High Road 

Singer-songwriter Jason Isbell does his part to change a white man's world.

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click to enlarge DANNY CLINCH
  • Danny Clinch

Jason Isbell's The Nashville Sound (Southeastern) is the summer soundtrack for those of us who fled small towns because of the sexism or the racism or the lack of opportunities—only to see all of those things amplified with the election of Donald Trump, rendering our hometowns almost hostile to our very existence. It is a white man's record about the problems inherent in whiteness and masculinity, but, as always, Isbell doesn't preach. Instead, he tells stories with as much literary ambition as any songwriter out there.

Isbell used to play with the Drive-By Truckers, whose Southern Rock Opera (Soul Dump, 2001), though it was recorded before Isbell joined the band, in many ways prefigures Nashville Sound, with its three-guitar meditation on the "duality of the southern thing." After Isbell left the Truckers, he got sober, married singer-songwriter Amanda Shires, who also plays violin in his band, and they had a daughter. Shires' violin is especially powerful on "White Man's World," where it serves as a haunting reminder lingering beneath the words, "Mama wants to change that Nashville sound/ but they're never gonna let her."

I'd been struggling with these same issues—how to be a white man and not be a complete piece of shit. So I figured I'd talk to Isbell about it.

City Weekly: Like you, I was born a southern dude who left there and I've identified some with the ways you struggle with that. It seems to be up front on this album. When "High Road" first came out, my wife and I both really felt like it was the first art that spoke to how we felt about our families and stuff at this moment. Did you write that after the election? Did it inspire that?

Jason Isbell: I think that one was probably written before, but not long before, "White Man's World." But, you know, the climate was the same. ... I don't see the election as the culmination of the problem; I see that as a symptom of the problem. But if you're going to make a good story, you're going to need a good setting. The only way for me to tell people what the world is like right now, before I can move on to narrative considerations, is by explaining the cultural social climate. And that, to me, just can't be discussed unless you bring up the divide in what people call politics.

I don't really see it as politics, though. I hate that word for this purpose. I think politics is ... a business transaction in which we all determine who gets to make decisions on our behalf. I don't think that's the question here. How people should be treated based on the color of their skin or their gender or their identity—I don't think those are political questions. I think those are questions of, really, ethics and beliefs.

In "White Man's World," there's the sense that being white men, especially southern, places us on the wrong side of history in many ways. You end the song talking about the fire in your little girl's eyes. Did having a daughter help you grapple with masculinity and whiteness?

It certainly made me more inspired to speak out about what I believe. I think I've felt the way that I feel for a long time. When she came along I thought, "I'm going to have to tell everybody how I feel now one way or another, because that's what I want her to see, and if there's any way I can make the world a better place for her, then that's what I'm going to have to try to do." But it didn't change my beliefs and I think that's how people are able to be white men with daughters and still be bigots, you know, [or] still be misogynists.

What you said about being a white man, in certain ways it puts us on the wrong side but I think, more than that, it gives us a responsibility. I'm not going to feel guilty or ashamed about being a white man. I think those are terms that people who are on the other side of the argument use. The criticism I've received from "White Man's World" comes in the form of proud white men saying, "I don't have any shame or guilt for being a white man." But nobody should really have guilt or shame about something they can't control. I'm born a white person. The guilt and shame would come in if I didn't use my privilege to try to make the world a better place for other people.

Yeah when you sing about wishing you'd never pretended not to hear another white man's joke, like growing up or whatever ...

The older I get the more I think I should have said something every single time I heard the N-word in elementary school or every time I heard someone make a joke about women or Mexicans in a bar when I was growing up in Alabama. If there's any regrets as I'm getting older, it's that I didn't stand up for people as often as I could have. I think really that's what I'm talking about in that song is, since all these doors are already open for me, being a white man, my job is to try to hold them for the person behind me or ... open them for someone they might be locked for.

So I also write about politics and I'm going to see Jeff Sessions testify tomorrow ...

Ol' Beauregard!

What would you say to him if you could take him back behind the barn and give him some advice or something?

He should have stayed in Alabama. It will be too much scrutiny for a boy like Beauregard. It's heartbreaking for me to see all these real serious bigots coming up and getting good jobs and being in control of some shit. I don't know where to start with Sessions. I mean his idea of marijuana, first of all. I think if maybe he would smoke some of the marijuana, he would realize that people are all the same and that smoking a joint once is not going to kill you. There's no crack rock in a joint.

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Baynard Woods

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