Not only is the Morgan Wallen cover quality, it’s comes with a ringing endorsement from Jason Isbell himself, who has addressed the concern from his fans ad nauseam, including after the latest eruption of anger at Morgan Wallen for having the audacity to perform the song on Jason Isbell’s home turf of Nashville. The people giving Morgan Wallen heat are mostly Jason Isbell fans who feel this song is so intimate to Jason Isbell and the moment his wife Amanda Shires got him sober, it’s sacrilege that anyone would ever cover such a tune, especially someone like the mulletted Morgan Wallen who got his start his start gesticulating with Florida Georgia Line on a shoreline in the video for his breakout single “Up Down.”īut the people who take issue with Morgan Wallen or anyone else covering this song need to get the hell over it. “I was a little skeptical at first because I knew I’d get some heat for it, and I have,” Morgan says.
But after a few folks heard it, they goaded him into performing it, and eventually recording it as a standalone single. Wallen went on to explain how he started playing the song just for himself, as a warmup backstage for his voice. It’s written by a guy who’s one of my favorite artists and one of my favorite songwriters of all time. This is a song that I did not originally write. “I always make sure to say this every night I play it. “This song right here is special,” Wallen said. Morgan Wallen was opening for Luke Combs this week during Luke’s two-night stint at the Bridgestone Arena in Nashville, and decided to play the song for the sold out crowd.
We’re talking of course about Morgan Wallen’s cover of Jason Isbell’s song “Cover Me Up.” Released in studio form earlier this spring ( read SCM review) after a video of an acoustic version of the song blew up, it has quickly made one of the signature songs of Isbell’s 2013 breakout record Southeastern into a standard being covered not just by Morgan Wallen, but many budding performers from mainstream country to independent Americana. Making decisions on Music Row is like making a U-turn with an aircraft carrier, and it’s often to its detriment. And the people calling the shots shouldn’t make the same mistake they did with Chris Stapleton’s rendition of “Tennessee Whiskey,” which could have been a huge single on country radio if they would have just pulled the trigger as opposed to following a designated script written months in advance like automatons incapable of calling an audible when a clear and obvious musical phenomenon is transpiring right before their very eyes.
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