Jason Isbell Is Tired Of Country's Love Affair With White Nostalgia
When you’re standing in front of the Ryman Auditorium in Nashville, you might feel under siege. It sits a few feet away from Nashville’s rowdy Broadway strip, which means you have to wade through an army of bros and bachelorettes — folks who descend upon the city for a good time, if your idea of a good time is throngs of partyers in matching outfits, open-top buses aggressively blasting music, and more country cover bands per square inch than you can possibly count.
In sharp contrast to the loud nostalgia cosplay that surrounds it, the 2,300-seat auditorium, with its imposing Victorian Gothic architecture and distinctive stained glass windows, projects dignity and history. It’s one of music’s holiest sites, a storied hall that has been dubbed the Mother Church of Country Music. Everyone from Bruce Springsteen to Willie Nelson has a reverence for it. Word is Harry Styles once planned a whole tour just so he could perform here.
In mid-October, I arrived for the second show of Jason Isbell’s eight-night residency at the auditorium. The occasion is a perfect marriage of artist and venue: Isbell is one of America’s most potent songwriters, and the Ryman is a cathedral of song. For Americana fans, the singer-songwriter’s annual residency here has become a coveted pilgrimage. It’s for good reason that Isbell has come to be associated with the Ryman: In 2015, he played four consecutive nights backed by his band, the 400 Unit. He expanded this to six in 2017. In 2018, he did another six and released a live album called Live From the Ryman. In 2019, Isbell and his band performed at the venue for seven shows. This year, they’re doing eight. Every single one of these runs has sold out.
But if the Ryman has become a kind of home for Isbell, this year’s residency carried a different energy. It was historic. For seven of the eight evenings, he had a different Black woman opening for him. In an industry and genre that is consistently failing white women and is downright hostile to Black women, the choice to feature these openers is a small revolution.
The openers vary in age, fame, and career stages. Between them, they cover a variety of genres under the roots music umbrella, ranging from country to soul, blues to folk, Americana to rock ‘n’ roll. For many of them, it was their first time playing the Ryman at all.
https://www.buzzfeednews.com/article/elaminabdelmahmoud/jason-isbell-ryman-country-music-mickey-guyton
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