Band of Horses has always known where it stands within the alt-folk music scene; not quite Ryan Adams or My Morning Jacket, but certainly carry more weight than say, Blitzen Trapper or are more accessible than Iron & Wine. With Acoustic at the Ryman, Band of Horses certainly takes a step in the right direction, releasing a no-nonsense, stripped down acoustic album (see My Morning Jacket’s Okonokos or Adam’s Live After Death for their influences) which showcases their lead singer’s vocal range and the ability to recapture the more delicate moments found on their first four studio albums. Let’s see Blitzen Trapper try to release a live album with this much subtle refinement.
Always led by a thoughtfully bearded and ball-capped Ben Bridwell, Band of Horses has always sought to embrace their inner country, but recording at the Ryman Auditorium only solidifies their previous flirtations with the genre as more than just fooling around. Anyone who knows anything about the venue’s legacy knows that Band of Horses may be punching above their weight. The place was formerly home to the Grand Ole Opry and dozens of Emmylou Harris shows while in her prime. Not to mention its the same venue where Neil Young produced his Heart of Gold concert film. The place is known for its history and acoustics, but where Band of Horses fits in, one may not truly understand until they listen to the entire album. Then and only then, can one write off the band as merely being in the right place at the right time.
Fans of the band have always known that Bridwell would eventually have to release a live album; it’s just what has to be done if he wants to be taken as seriously as the ’70s Americana bands he has always tried to emulate. Other than that, it’s difficult to pinpoint the exact reason for releasing an acoustic album, especially when some of the best songs sound good electric. There seems to be some misguided arrangement on the album: instead of revisioning a more up-tempo song like “Laredo,” Bridwell chooses to play acoustic versions of the slower, more downbeat songs that have already previously stalled the other albums from ever really taking off. That’s not to say that this album is poor or only for fans, although new listeners should probably pick up Everything All the Time before trying this one on for size.
The album has the right intentions. Regular listeners of BOH will find the attempt charming, or at the very least reaffirm that love which they already felt for Bridwell’s cozy lyrics and southern-fried indie rock guitar strumming. The album begins with an even more downtempo version of “Marry Song,” but adds a Josh Charles-inspired piano arrangement for good measure. It’s confirmed from there: this is a live album in all its flaws and glory. Most of the songs have an overly jocular audience member “woooing” or “yeahing,” but you get what you pay for.
The album does feature appropriately folksy vocal versions of “Slow Cruel Hands of Time” and “Everything’s Gonna Be Undone,” adaptations which outshine their previous originals. Perhaps the best boast of Bridwell’s soprano/alto is found on the piano dominant “The Funeral,” one of BOH’s best-loved songs by fans alike. Whichever version of the band you like best, the electric warriors of “Is There A Ghost” or the Bread-like harmonies of “Neighbor,” the one thing which certainly holds up by the end of this album is that Bridwell is more comfortable on that tiny stage in Nashville than he ever was in front of a screaming and skeptical arena audience. Its obvious Bridwell has created a warm, charming atmosphere over the two nights recording the album. Whether this album goes down as a timeless classic, it’s probably too soon to say. But there is some earnest magic on this album which would make even Neil Young proud.
– Chris Carvalho (ChrisCarvo @bandshirrt)