Taking Flight with Mark Lettieri | Dipped in Tone Podcast
Thanks to Sweetwater for sponsoring this episode.
Head to sweetwater.com/dippedintone to enter to win one of 2 rigs hand-picked by Rhett and Zach! Giveaway ends May 21, 2023
Mark Lettieri’s Fearless Funk
It’s virtually impossible to make a living in 2019 as just a guitarist. You need to be a composer, audio engineer, videographer, tour manager, educator, and more to put a dent in guitardom.
“In high school the idea of being a professional musician means you’re a rock star or something,” says Mark Lettieri. “Because of the naivety of youth, you don’t really know about all these other things that you can do or different ways to make a living doing it.”
But today, Lettieri has learned them all. In the past year, he has hopped between recordings and tours with Snarky Puppy, crafted his riff-showcasing “Baritone Funk” videos (on Instagram and YouTube), done sessions for everyone from Kirk Franklin to Erykah Badu, played Radio City Music Hall with Dave Chapelle, cut an EP with Vulfpeck spin-off the Fearless Flyers, and led his own trio on international tours. Each one of these situations calls for Lettieri to adopt a different approach and mindset.
There’s a whole middle class within the music business that Lettieri didn’t begin to explore until after college. At Texas Christian University, he chose not to be a music major, but rather to head into the family business of public relations and advertising. “The music thing was a really important hobby at that point,” he remembers. “It was a hobby that I was really passionate about, but the idea of doing it as a career wasn’t my focus.” After college, PR and advertising jobs were scarce, so Lettieri joined up with a locally based touring country band that lead him to a brief cameo in a Bud Light commercial.
Lettieri would hit the blues jams on Sunday nights in the Dallas-Fort Worth area and take any gig he could get—including one that found him performing a single song for a corporate retreat. A pharmaceutical company had re-written the lyrics of Kelly Clarkson’s “Stronger” into an ode to synergy, meeting quotas, and corporate strategy. It was a very bizarre gig. “I showed up and got paid, like, $800 for one song. But the band was slamming,” he says.
It wasn’t until 2008 that he entered the Snarky Puppy ecosphere. The collective was centered around Denton, Texas, and, more specifically, the music department in the University of North Texas. Through a series of musician friends, Lettieri received a call from head Puppy, bassist Michael League. The band was working on Bring Us the Bright and League needed some seriously funky guitar. Lettieri was on an R&B gig when the call came, but headed over to the studio at midnight and played a couple of passes on “Strawman” and went home.“A bit later, Michael called me for some gigs. I had to learn some really hard tunes in, like, three days for a Mardi Gras gig,” says Lettieri.
Since then, Lettieri has become a member of the seemingly ever-growing Snarky Puppy circle, and trades off on gigs with other two guitarists: Chris McQueen and Bob Lanzetti. The Pups hit the road—hard—and especially this year, after the release of their latest album, Immigrance, which features Lettieri, McQueen, and Lanzetti throwing down at the same time. With 12 to 15 or more members, depending on the day, it can be hard to find a musical place within such a large and dynamic group. A testament to Snarky Puppy’s composing and arranging is how well each member gets time to shine somewhere on every album. On Immigrance’s “Chonks,” a League composition, Lettieri rips through the mid-tempo stomp-groove with a rhythmic precision that extends throughout the arrangement.
Between Snarky Puppy gigs and sessions, Lettieri prepared two completely different solo albums for 2019. The first was Deep: The Baritone Sessions, which came out in March and was born of his newfound life as a baritone funk guru. In late 2016, Lettieri started to post brief videos of original funk riffs on a baritone guitar. They started as practice vids, played to either a ’70s funk classic or an EDM-ish loop that Lettieri programed in Logic. Lettieri later realized he was actually doing a form of pre-production.
Things of that Nature, set for release this fall, is Lettieri’s fourth full-length album as a leader and is easily his most progressive and melodic. If all you know of his playing is super-hip funk with deep shred influences, then you’re in luck, because it will give you exactly what you want and more. The album features his longtime trio of Jason “JT” Thomas on drums and Wes Stephenson on bass, along with cameos by fellow Snarky Pups Shaun Martin, Bobby Sparks, Justin Stanton, and Bob Reynolds. Before a recent trio tour of Europe, PG caught up with Lettieri to discuss his early days in the Dallas R&B scene, his approach to composition, and learning from David Crosby.
You grew up in the Bay Area. What initially inspired you to play guitar? Did you grow up in a musical household?
My dad plays a little bit of guitar just as a hobby. He had an acoustic guitar in the house that he would play every now and then, and I’d just mess around on it. Obviously, I didn’t know what I was doing. I was around 12. It’s just one of those adolescent things where you’re at the age where you discover music for yourself and with your friends. Thankfully, my parents had really great taste in music, so I grew up with great music around the house: everything from Aretha Franklin and Stevie Wonder to the Eagles and Jackson Browne and the Byrds. But you know, when you’re 12 and you’re hanging out with your buddies, you just want to go listen to the alternative rock station.
At what point did you get friends together and start to play?
It happened almost immediately. The first time I ever played a gig was in my backyard for a family member’s birthday party. My friend and I were both learning guitar at the same time and ended up with the same guitar teacher, Alison White, who taught us how to read tab. She had a recital for all her students, and the two of us played an instrumental version of Everclear’s “Heartspark Dollarsign.”
When did you veer off and start to play music that wasn’t on the radio?
My friends and I were learning songs and jamming, and we are always playing stuff like Hendrix and Stevie Ray Vaughan. Everyone got into Joe Satriani, since he was a local guy. The biggest guitar experience of my life was seeing him on Halloween night in San Jose in ’98. We would play the Third Eye Blind stuff, because we knew girls at parties would like it.You can’t necessarily just play Joe Satriani’s “House Full of Bullets” at a high school backyard party.
Many musicians view the transition from high school to college as a way to get really serious about music. Was that the case for you?
I was a different breed of musician, in that I was pretty academic, but athletics were also important for me in college. I wanted a degree that was interesting and useful, which in my case was advertising and public relations. That’s what my parents did. They were both PR people. The music thing was a really important hobby at that point. It was a hobby that I was really passionate about, but the idea of doing it as a career wasn’t my focus. I was there to study and do sports and find a band and play on the weekends.
Your college band was well before you joined Snarky Puppy, right?
Yes. It wasn’t a jam band, but we jammed. It was sort of like a funk-rock-pop thing. We brought in our own tunes and we were, to my ears, one of the only power trios that was really grooving. The drummer was a friend from the TCU gospel choir, so he had a little bit of that sound.
Was that the point where your funk-rock influences came out in earnest?
Yeah. By the end of high school, I had started listening to Stevie Wonder and George Clinton and Steely Dan. I remember my friend got a Brothers Johnson album and we’d freak out over it. Of course, there’s guitar involved in all that, but the focus is the groove, and the chord progressions were different than what I was hearing in Megadeth.
When did you first get into baritone guitar?
I think the first time I played one was on a recording with this band that I continued to be a part of outside of college. We were just recording a tune that was a rock ballad thing, and the engineer was like, “You want to try a baritone guitar?” I didn’t know what that was. He brought it out and I got a feel for it and I played this very basic thing. And I thought, “well, that was neat” and then completely forgot about it. I used one on a few Snarky Puppy songs, but it was still just a chordal, textural thing. The idea to use it as a groove instrument was something that I just discovered. The light bulb went off and I thought “Why am I not playing funk on that?”
Let me back up. In the summer of 2015, I wrote this tune called “Jefe” on baritone and I thought it might work for Snarky Puppy. It was a groove thing on a baritone guitar, and there was something about it that was really satisfying to me. I love bass. I love bass players. I love bass playing. But I love funky guitar and groove guitar playing, so it’s kind of a happy medium. Then I started doing those silly internet videos.
Those videos on Instagram really took off. What was your process for putting those together?
I think the first Instagram stuff I ever did was all done with an iPhone. I didn’t know what I was doing. When I started doing the baritone thing, I was running through a Kemper and recording it in Logic and then syncing up the audio to the video. All the drums are programmed by me, and I played everything. It was simply, “Here’s a goofy kind of little funk track,” and the response from people was not something I expected at all. Once I noticed people were really responding to it, I felt I had to make it into an album because I would have been wasting a lot of stuff if I didn’t.
How did your musicianship improve after doing a whole album of baritone funk?
It helped me learn how to arrange guitars. A lot of what I do here at the home studio is produce my own guitar parts for records. Almost everything that comes through here is remotely done with varying degrees of direction from clients. Sometimes they’re very specific, but most of the time I have to read someone’s mind, which is really hard to do. The album was just another extension of arranging parts and stacks and different things to get the most out of a tune without maybe overdoing it—even though on a couple of songs I overdid it on purpose.
It sounds like “Stoplight Loosejaw” was one of those.
There are a ton of guitars on that song—on purpose. I wanted people to be looking left and right when they heard that song on headphones. And then when you try to play it, they would be like, “There’s no way I can play all this. I need 42 guitar players to play this live.”
Do you think any of these songs will make it into the trio’s live set?
That’s the problem I’ve created for myself. Tell you what, if people buy the record instead of stream it on Spotify, there’s a chance I can afford to put together a band large enough to come play the record in your town.
What type of band would you need to pull it off?
I could do with a keyboard player who had a couple keyboards, a drummer, a bass player. Then it gets difficult. Probably three guitar players. “Stoplight” is baritone, standard guitar, and 7-string guitar. I could maybe do that one with a 7-string and baritone, but the baritone record has so many stereo stacks, which are essentially horn parts, played on guitar. It’s not impossible; it’s just a logistical nightmare.
From what you described, that college band sounds a lot like what you are going after with your solo albums.
Yeah, it probably is an extension. That’s always been my thing: instrumental guitar stuff with melodies, harmonies, and riffs. But I try to keep an emphasis on the tunes, at least in some respect. Maybe I have split personalities or something. For example, if you go to my Instagram, you probably have no idea what kind of guitar player I am because there’s all kinds of crap up there.
When you write a tune, do you have a specific group or instrumentation in mind?
I try to make everything work for the smallest amount of people possible. Maybe subconsciously. Most of the stuff I write would be a stretch to think it would work for a large ensemble. I just haven’t matured in that way yet. A majority of the writing I do, I plan on using for the trio because I have an outlet for it and the ability to play it with people and for people. I have to be honest with myself. I need to get that music out because deep down inside there’s a 13-year-old kid and that’s what he wants to do.
I can totally hear you cutting through everything on Snarky’s “Bad Kids to the Back.”
I played baritone and regular guitar on that. I’m trying to think how they mixed it. Sometimes it’s kind of weird who they put to what side. I have to go back and listen to it. Well, I should listen to it, since I have to play it on tour. [Laughs.] But yeah, there’s definitely some Lettieri-esque comping rhythm, but Justin [Stanton, trumpeter and keyboardist] actually programmed a lot of that stuff for us to play with our interpretation.
Also, I thought that was you playing the second solo on “Chonks.”
A lot of people did. Bobby [Sparks, keyboardist] played that through my Supro Statesman head. I don’t know what he used for pedals, but it’s Bobby, so he probably turned them all on. He phrases like a guitar player, which is really cool. Bobby’s really funny. He’s like “Man, you know, I love guitar but, like, the feeling of the strings makes my skin crawl, man. I can’t do it.”
Guitars
Don Grosh NOS Retro
Fender/Don Grosh hybrid Stratocaster
Ibanez AZ2204
PRS McCarty 594
Collings I-35 LC
California Artist Guitars Artist Series T
Kiesel Solo 7
Bacci Leonardo
Danelectro ’56 U2
Supro Hampton
Martin 000C-1E
F-Bass Hammertone
Amps
Supro Statesman
Naylor Duel 60
Pure Sixty-Four Mean Street Gen III
Kemper Profiler
Suhr Reactive Load
Effects
J. Rockett Melody overdrive
J. Rockett GTO overdrive
J. Rockett Dude boost/overdrive
MXR Bass Octave Deluxe
MXR Blue Box
MXR Super Badass
MXR Phase 90
TC Electronic Nova delay
TC Electronic Hall of Fame
TC Electronic Brainwaves pitch shifter
TC Electronic Sub ’nʼ Up octaver
Way Huge Conquistador fuzz
Vertex Dynamic Distortion
Empress Effects Tremolo
Keeley Monterey rotary fuzz/vibrato
Line 6 M5 Stompbox Modeler
Strings and Picks
Dunlop Nickel-Wound (.095–.044, .010–.046)
Dunlop Nickel Wound for baritone (.013–.068)
Dunlop celluloid heavy picks
Let’s talk about the Jeff Beck influence on “Seuss Pants” from Things of That Nature. You really nailed how to phrase vocal-style melodies with the whammy bar.
I hope I don’t get sued by Jeff Beck. [Laughs.] I was practicing some new intervallic melodic things and just happened to have the whammy bar in my hand. That song came together in about a day or two. And then the title was just named after the pair of my wife’s pajama pants that have this really wild print on them. We just call her “Dr. Seuss pants.”
One thing I hadn’t heard you do on a recording is play acoustic and slide. Both are featured on “Ojai.” Did you write that in Ojai, California?
No, but the inspiration for that tune was David Crosby. It uses a tuning that he taught me. The tuning is C–G–D–D–A–E. It’s like an open 6/9 chord. I’m super self-conscious of my acoustic playing because I never really do it publicly, although I do some fingerstyle stuff on pop and gospel sessions. I just wanted a simple thing based around that tuning. I almost didn’t put it on the record because I was so nervous about my playing.
With so many different sounds and projects coming out this year, what’s your guitar/amp setup like? Other than the baritone stuff, do you start with a certain combo and move from there, depending on what’s needed?
I took almost everything to the studio. The guitar tracks are a blend of either a Supro Statesman, Pure Sixty-Four Mean Street, or a Naylor Dual 60. My engineer and I blend those amps all the time, so that was a big part of it, and I used a Kemper on a couple of songs.
Did you run a stereo setup with multiple amps or just a dual mono?
Yeah, dual mono. Exactly. In fact, I think all of the guitars on “Seuss Pants,” for example, were a blend of the Kemper and the Pure Sixty-Four, which I combined with a Suhr Reactive Load.
What were some of your favorite profiles in the Kemper?
I think I used a 3rd Power profile on that tune. I used all of Michael Britt’s stuff, and going back to the baritone record … that’s all Kemper. There are no “real” amps on that, and I used a bunch of different profiles.
“Naptime,” from Things of that Nature, opens with a hip funk riff. Sounds like the title was inspired by your life as a new dad.
That’s exactly what it is. “Naptime” happened because my kid was asleep for an hour and I felt like I should do something productive with music. I had that main riff stored in my phone somewhere. That song happened very quickly. “Seuss Pants” happened very quickly. “Blockheads” took a little more time because I rearranged a lot of it. Same with “Bubinga,” which is on the 7-string.
As if you didn’t have enough albums coming out this year, the Fearless Flyers just released a new EP, Fearless Flyers II. How did that collaboration come together?
I guess it was [Vulfpeck leader] Jack Stratton’s initial idea, and then I got an email from [Vulfpeck guitarist] Cory [Wong]. I had never met him, and I had never met Nate [Smith, drummer]. Of course, I knew about all the guys. Cory just emailed me through my website. They didn’t say anything about the kind of music, which is interesting. I called him and initially I wasn’t really sure if I wanted to do it, because I just didn’t know what was going on. So we talked, and I was like “Well, let me think about it.” After I thought about it, I realized I would be stupid not to do this. So, I called him back and said, “Yeah, sorry. Let’s do this.”
Going into those sessions, you still didn’t have any real idea about what it was about?
I remember asking “Do you want me to bring in any songs?" They said we would just do it all there in the studio. I brought a pedalboard that I had put together, specifically to get a lot of sounds from the baritone funk videos I was doing at the time. They said “We’re not going to use any of that. We’re just going to plug into the computer.” Also, we had to wear flight suits and our instruments were on these stands. I was thinking, “When’s lunch?” [Laughs.]
Taking that chance has now led to a gig at Madison Square Garden. What’s it going to feel like when you step out on that stage for the first time?Well, I won’t be able to step that far, because I’ll be standing behind a guitar that’s bolted onto a mic stand. The dream of me running out and playing rocking guitar solos is not going to be fulfilled that day, but I might just have to rip it off the stand and just drag that sucker out there.
This live take on “Seuss Pants” was filmed during a residency in Dallas with Lettieri’s working trio of Jason Thomas on drums and Wes Stephenson on bass. The decidedly Jeff Beck-ish melody was born out of a practice session where Lettieri was focusing on improving intonation with the whammy bar.
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).
Belltone Guitars has partnered Brickhouse Toneworks to create a one-of-a-kind, truly noiseless Strat/Tele-tone pickup in a standard Filter’Tron size format: the Single-Bell pickup.
The Single-Bell by Brickhouse Toneworks delivers bonafide single-coil Strat and Tele tones with the power of a P-90 and no 60-cycle hum. Unlike typical stacked hum-cancelling designs, Brickhouse Toneworks uses a proprietary ‘sidewind’ approach that cancels the 60-cycle hum without sacrificing any of the dynamics or top-end sparkle of a Fender-style single coil.
Get the best of both worlds with clear bell-like tones on the neck pickup, signature quack when combining the neck and bridge pickups, and pristine twang in the bridge position backed with the fullness and power of a P-90. Push these into overdrive and experience the hallmark blues tone with plenty of grit and harmonic sustain — all with completely noiseless performance.
Key Features of the Single-Bell:
- Cast Alnico 5 Magnet, designed to be used with 500k pots
- Voiced to capture that signature Fender-style single coil tone without the 60-cycle hum
- Lightly potted to minimize squeal
- Made in the USA with premium quality materials
The retail price for a Bridge and Neck matching set is $340.00 and they’re available directly and exclusively through Belltone® Guitars / Brickhouse Toneworks at belltoneguitars.com.
Making a quiet, contemplative album allows Isbell to reflect on the material in a new way and to really explore the relationship between his guitar and voice, which he’d recently lost and reclaimed.
With his new album, the Americana hero faces the microphone alone—save for a 1940 Martin 0-17—and emerges with an album full of nuanced emotional touchstones framed by the gentle side of his virtuosic musicianship.
Imagine, just for a moment, that you’re a successful, internationally recognized singer, songwriter, and guitarist. (Nice dream, right?) You’ve been in the public eye nearly a quarter-century, and for all that time you’ve either been a band member or a band leader. Then one day you decide the time is right to step out on your own, for real. You write a bunch of new songs with the express intent of recording them solo—one voice and one acoustic guitar, performed simultaneously—and releasing the best of those recordings as your next album. No overdubs. No hiding behind other musicians. No hiding behind technology. For the first time, it’s all you and only you.
Would you be excited? Would you be petrified?
This is the challenge that Jason Isbell voluntarily took on for his 10th and latest album, Foxes in the Snow. There were some extenuating circumstances. He was sorting through the aftermath of a very public breakup with his longtime partner in life and music, singer/violinist Amanda Shires, and the new songs reflected that situation, sometimes uncomfortably. Music this personal needed a personal approach. And so, when Isbell entered Electric Lady Studios in New York City for five days of recording last October, none of the members of his regular band the 400 Unit were there. He was accompanied only by co-producer/engineer Gena Johnson, who’s worked with him regularly for the past eight years.
Soundstream
“It was difficult to pull off,” Isbell acknowledges via Zoom from his Nashville homebase, “but it didn’t require me to look for ways to make the record sound weird. And that’s important to me, because what I don’t want to do is write a bunch of songs and then go in the studio and intentionally try to make them sound strange, just so they don’t sound like things I’ve done in the past. It made sense to me to just walk into a studio with a guitar and a notebook and make a record that way. First of all, because I can, and I’m grateful for the fact that I can. And I also thought that it would be really hard. And it was.”
Although Foxes in the Snow is Jason Isbell’s first solo acoustic album, acoustic guitars have long been a part of his onstage 6-string regimen.
Photo by Tim Bugbee/Tinnitus Photography
Making it especially hard was Isbell’s insistence on not overdubbing his vocals. “I didn’t want [the album] to sound like anything that could have been replicated or fabricated,” he explains. “I wanted it to sound like somebody playing a guitar and singing. To me, the only way to do that was just to go in there, sit down, and play it. And it’s hardto play the guitar and sing at the same time in the studio. Normally, that’s something you wouldn’t do; you’d be in a really controlled environment with mics on the guitar, everything would be isolated, and you’d have to play very carefully, not the way you play live. The idea of doing that while singing master vocal takes … well, it was tough, because if you screw up, well, you just screwed up. But the good news is you don’t have to make everybody else start over, and I liked that. I liked the fact that if I messed up, I could just stop and immediately try another take.”
“I brought an old D-18 into the studio, like a ’36 or ’37, and it sounded beautiful, but it didn’t sit in the right spot. It ate up so much space, and it was so big.”
Being aware of the difficulties and doing it anyway—that can’t help but be a vote of confidence in one’s own ability as a musician. And it should come as no great surprise that Isbell’s confidence was well-founded. Foxes in the Snow shines a bright spotlight on his guitar playing, and the playing proves eminently worthy of such a showcase. From the bluegrass-tinged solo on “Bury Me” to the Richard Thompson-esque fingerpicking at the end of “Ride to Robert’s” and the bouncy, almost Irish-reel-like hook of “Open and Close,” Isbell always gets the job done, coming up with tasty parts and executing them with panache. It’s been easy to forget in recent years amid all the critical accolades and Grammy wins that when Drive-By Truckers brought Isbell into their fold in 2001—his first major-league gig—they didn’t do it because of his singing or songwriting, which were still unknown quantities at the time; they did it because of his considerable skills as a guitarist. By putting those skills on display, Foxes in the Snow helps rebalance the Isbell equation.
Isbell says his new album was “difficult to pull off, but it didn’t require me to look for ways to make the record sound weird.”
Jason Isbell’s Gear
Acoustic Guitars
- 1940 Martin 0-17
- Martin Custom Shop 000-18 1937
- Two Martin OM-28 Modern Deluxes
- Martin D-35
- 1940s Gibson J-45
- Fishman Aura pickup systems
Electric Guitars
Amps
- 1964 Fender Vibroverb
- Dumble Overdrive Special
- Tweed Fender Twin
Strings, Picks, & Capos
- Martin Marquis phosphor bronze acoustic lights (.012–.054)
- Ernie Ball Regular Slinkys (.010–.046)
- Dunlop Tortex 1.14 mm picks
- McKinney-Elliott capos
And it does so while employing one guitar and one guitar only: an all-mahogany 1940 Martin 0-17, purchased within the past couple of years at Retrofret Vintage Guitars in Brooklyn. “My girlfriend [artist Anna Weyant] lives in New York,” Isbell notes, “and I didn’t want to keep bringing acoustics back and forth. I’ve got a lot of old Martins and Gibsons, and I don’t love to travel with them and subject them to air pressure and humidity changes. So I needed a guitar that could just stay in New York. As far as pre-war Martins go, it’s about the least special model that you could possibly find. But it sat perfectly in the mix. I brought an old D-18 into the studio, like a ’36 or ’37, and it sounded beautiful, but it didn’t sit in the right spot. It ate up so much space, and it was so big. The sonic range of that guitar was overpowering for what I was trying to do, and with the little single-0 I could control where it was in relation to my vocal.”
“There’s Bon Jovi and Bruce Springsteen and Paul McCartney all staring at me, and I knew that I had to sing in front of them with a busted voice.”
That control was important, because Isbell’s voice is spotlighted even more brightly on the new album than his guitar work. If you hear more strength in his singing these days, it’s not your imagination; he hired himself a vocal coach last year—out of necessity. “My voice failed,” he says simply. “I didn’t have any nodules or anything, but for some reason, anything above the middle of my range was gone. It was painful and embarrassing. I was doing the MusiCares tribute to Bon Jovi [in February 2024] and my voice was gone and I knew it. I was singing ‘Wanted Dead or Alive’ on stage, and I looked down and there’s Bon Jovi and Bruce Springsteen and Paul McCartney all staring at me, and I knew that I had to sing in front of them with a busted voice.” He pauses and sighs. The sense of humiliation is palpable.
“You know, I did it,” he continues after a few seconds. “I did my best, and it was not good. And then after that I started working with this coach, and it made a huge difference. I figured out that I hadn’t been singing in a way that was anatomically correct. I’d been squeezing and pushing all these notes out, and [the coach] was good enough to manage to keep my vocal quality the same; I didn’t have to change the way I sounded, I just gained a wider range and a lot more stability. Now I’m able to sing more shows in a row without having vocal trouble. It’s been really, really nice.” He pauses again, this time to laugh. “And I made fun of people for so many years for blowing bubbles and, you know, doing all the lip trills and everything backstage … but here I am doing it myself.”
While recording sans band, Isbell said, “I liked the fact that if I messed up, I could just stop and immediately try another take.”
Isbell’s voice has made gains in both upper and lower range, as the Foxes in the Snow ballad “Eileen” demonstrates. In a clever touch, he pairs an unusually deep vocal part with a high, chimey guitar line, produced by placing a capo on the 0-17’s 5th fret. “Now that I’ve learned how to sing after just hollering for my whole career, I’ve got the ability to support a vocal in that low a key,” he says. “Having a vocal coach made it possible for me to sing a song like that. And the 5th-fret capo is a little tricky sonically, too. People usually go between two and four [the 2nd and 4th frets]. At least I do. Matter of fact, when I was a kid, my grandfather didn’t like for me to capo up over the third fret. I remember he’d tell me that would damage the guitar. I’ve never found a way that it would damage the guitar,” he adds with a grin. “I think it just irritated him.”
“My grandfather didn’t like for me to capo up over the third fret. I remember he’d tell me that would damage the guitar.”
Growing up in northern Alabama in the 1980s, Isbell took to music in large part because of his multi-instrumentalist grandfather. “He was a Pentecostal preacher, and he played every day. When I’d stay over with him, he’d play mandolin or banjo, fiddle sometimes, and I would have to play rhythm guitar. And then my dad’s brother, who’s a lot closer to my age, had a rock band. He taught me to play the electric guitar and rock ’n’ roll songs. I feel like I just got lucky that I loved it so much. That’s really at the heart of it—the fact that I’ve never had to sit down and practice because I just think about it all the time.”
Isbell is typically found onstage with his fleet of electric guitars, including vintage Telecasters, Les Pauls, Stratocasters, and his ’59 Gretsch Jet Firebird with a Bigsby.
Photo by Matt Condon
This is not to say that Isbell doesn’t practice; quite the contrary. Indeed, one of the most moving segments of Sam Jones’ excellent 2023 documentary on Isbell for HBO, Running With Our Eyes Closed, is when he recalls just how crucial practicing became to him as a child. The guitar was a refuge, a way to literally drown out his parents’ vicious arguments in the next room. (Another poignant aspect of Jones’ film, shot mostly in 2019 and 2020, is the delicacy with which it captures the often tenuous state of the Isbell/Shires relationship, prefiguring their breakup.)
When asked what exactly it is about the guitar that makes it so special to him, Isbell doesn’t hesitate. “The guitar is the best instrument,” he says. “It’s the smallest, most portable instrument that you can make full chords on. You can’t take a piano to a dinner party, you can’t accompany yourself on a clarinet, and you need something that’s big enough to where the volume of it can fill a room. In the days when everyone had acoustic instruments, like in the 1920s, there was nothing else like the guitar that you could carry on your back and travel from place to place and entertain people with."
“I realized pretty early on in the solo experiment that when you’re playing with the band, you don’t have a chance to work with tempo or volume in the same way.”
With that question answered, all that remains is to inquire, now that Isbell’s done the solo acoustic thing once—both in the studio for Foxes in the Snow and live for his tour to promote the album—whether he’d ever consider doing it again. “I don’t see why not,” he responds. “It’s not in any kind of plan right now, but I enjoyed the challenge of it. And I think anything that makes me turn off the ‘Don’t fuck this up’ switch is good for me, because if you sit there and spend the whole time thinking, ‘Don’t fuck this up,’ you’re not ever gonna get into that zone where you’re communicating with the work, and you’re not ever gonna get to a point where you can deliver it comfortably. This has been a really good opportunity for me to just practice letting all of that go.
“Obviously I miss the horsepower of the band,” he adds. “I miss the people individually, being on stage and communicating musically with them. But I realized pretty early on in the solo experiment that when you’re playing with the band, you don’t have a chance to work with tempo or volume in the same way. Usually you’re just trying to count a song off at the same tempo you recorded it in or the way you’ve been playing it lately, but when it’s just me, I can intentionally speed up and slow down within a song. And with respect to the volume, I can drop the bottom out soquickly, whereas it’s more like steering a ship when I’ve got the whole band up there—it happens more slowly, no matter how good they are. I would not enjoy this as much if I had to do it all the time,” he concludes. “But it’s nice to have both sides.”YouTube It
In this version of “Ride to Robert’s,” Jason Isbell demonstrates the flexibility of playing solo by picking up the tempo of this song from Foxes in the Snow.
Designed for players who demand flexibility without sacrificing tone, the Aquanaut fuses the rich warmth of classic analog delay with the extended range and clarity of modern digital designs. Featuring up to 600 milliseconds of delay time, the Aquanaut easily covers everything from tight slapback echoes to lush, ambient textures and rhythmic soundscapes – all with a simple, intuitive control layout.
Unlike many digital delays that can sound sterile and detached, the Aquanaut retains an organic, analog-inspired voice. Repeats are smooth and musical, gently fading into the mix to create depth and dimension without overwhelming your dry signal. Whether you’re chasing vintage tape echo, adding subtle space to your solos, or building massive atmospheric layers, the Aquanaut keeps your tone clear, present, and inspiring.
Berserker Electronics Aquanaut Delay/Echo
Key features include:
- Up to 600ms of delay time for expanded creative possibilities
- Analog-voiced digital architecture for warm, natural-sounding repeats
- Ambient-style echo that enhances, not distracts from, your core tone
- Simple, intuitive controls for delay time, feedback, and blend
The Aquanaut is available direct at www.berserkerpedals.com and Reverb at a $149 street price.