Reviews

The March 16th show at the State Theatre in Detroit was one I definately
won't forget.  To start with this is a great venue to see Bob up close. 
And the acoustics are fabulous.  The sound mix was perfect, loud at the
right moments, and you could hear Bob clearly (along with the rest of the
band).  I attended last nights show and I knew it would be a hard one to
top.  But I believe because of the changes in the set list, and Bob's tip
of the cap to Seger with Get Out Of Denver, (on the second encore) this
show was one for the ages.  I was pleasantly surprised and pleased with
Silvio in the opening slot.  Then came Senor with some well played guitar
by both Larry and Freddie.  Cry awhile followed and was well performed. 
So right off the bat we got three songs that weren't played the previous
show.  Things were definately looking and sounding good.  I'm a bit fuzzy
on the order of the rest of the set so I won't give you a blow by blow
account.  Plus you can read the setlist when it's posted.  The acoustic
numbers Spanish Boots of Spanish Leather, It Ain't Me Babe, and Shooting
Star were definate highlights.  What they've done with It Ain't Me Babe is
just so cool.  My friends who missed this show can only pray that they get
to hear Bob's new treatment of this song when he comes back to town. 
Highway 61 and Watching the River Flow also recieved special treatment and
sounded as fresh as the day they were born.  And let me say this, make no
mistake, this band rocks.  If you like blues and rock and country these
guys are the real deal.  Larry plays slide throughout and so does Freddie.
And Tony is one hell of a base player.  And then put Bob front and center
(or to the side as in this present tour),  you've got magic.  My feet are
still tapping.  Summer Days is just so much fun and it's a great closer. 
I figured the encore would be pretty much the same as the previous night. 
Boy was I wrong.  Bob was playing to the crowd so much during LRS I
thought he might take a dive into the audience.  He just kept looking up
from his keyboard and acknowledging the crowd.  It was like he wanted them
to know how much he appreciated them.  And when they finished and did the
now famous formation,  the place went nuts.  I don't think the mic was on
when Bob was introducing the band, but it didn't matter.  Everyone just
kept screaming louder and Bob was laughing because he knew it was a lost
cause.  Not usually one for second encores I figured that was it, but yet
a couldn't stop yelling.  And I'll be damned if they didn't come back out
for one more.  It sounded initially like a Chuck Berry song, with Bob
doing it up right on the vocals.  Then all a sudden came the chorus "get
out of Denver baby go!" and the roof nearly blew off the place.  Our local
boy was going into the Rock 'N' Roll Hall of Fame and Bob was doing one of
his songs.  And doing it extremely well I might add.  What a night and
what a show.  Unfortunately it's back to work for me tommorrow so I'll
have to miss Bob's last show hear in Detroit.  But I'll be waiting eagerly
for his next visit to our fine city.  To those of you who have tickets to
his upcoming shows you are in for a treat because Bob and his band only
appear to be getting better.  Rock on Bob!

Eric  

Bob was in good form tonight. He made all the trouble we encountered on
the way there,(bad weather, snarled traffic in two places, and a spinout
(no damage), worth it. I wasnt expecting "Silvio" as an opener, but it was
a great way to start off

He seemed to be in good humor and really into the show as well as the rest
of the band. They didnt seem bored at all, as I think someone from the
night before had reported. The biggest thing is trying to figure out the
songs because of the new arrangements. I haven't seen Bob since the "Under
the Red Sky" tour, and I believe that was at the State Theatre too. I
didn't recognize "Watching the River Flow", til it was almost too late. It
started out sounding like it was going to be "Rainy Day Women #12 & 35."
"To Make You Feel My Love", and "Tell Me It Isnt True" were done
beautifully. Boots of Spanish Leather", "It Aint me, Babe" and "Shooting
Star" were the other slower tempo numbers and were excellently done. The
band really got to stretch out instrumentallly on "Highway 61", "Cold
Irons Bound", "Summer Days",  "Like a Rolling Stone", and "All Along the
Watchtower", but especially on "Summer Days". The big surprise of the
night was that he came out for a second encore, and an even bigger
surprise was that he did Bob Seger's "Get out of Denver", and the band
really smoked on that song and Bob looked like he was having a ball doing
it. He had tried to say something before introducing the band, but you
couldn't hear him say it or introduce the band, because the ovation was so
loud and overwhelming, that was before "Watchtower" He looked genuinely
appreciative of the response. All in all it was a great show, and
definitely worth all the hassles getting there.

So, I headed into the State expecting mostly a similar show to the 
night before. So I wasn't really expecting too much to be different.
Managed to get a good spot close to the keys to see Bob work his magic.
And voila, close to 8 p.m. the band very tight lipped and grim wandered
onto the stage.

I was quite confident that I'd hear Drifter's escape, but nope Bob 
launched right into gulp...."Silvio".

Nothing overly extraordinary about the song. Just a good opener. 
Immediately obvious was the difference in sound. It was a hell of a lot
louder than the previous night. Loud enough, that I could feel the bass
line of every song in my hair.

Some of the highlights from last night include Boots of Spanish 
Leather. Weird melody. I'd always hoped to see him playing this on the
guitar. But I was just as pleased with the overall arrangement with the
keys. A very dark take on the song that fits into the very bluesy feel to
the stylistic approach that seems to be going on with Dylan and the band.
It was great to see an entirely different set list from the night before.
Songs that were repeated off the top of my head include Summer Days,
L.A.R.S., Highway 61. He seems to be delving into a lot of the songs off
of Love and Theft, showing off his range and the range of the band. In the
last two days, he played, Tweedle Dee and Tweedle Dum, Lonesome Day blues,
Floater, Summer Days and Cry Awhile. This is just off the top of my head,
I don't have the set lists in front of me. Cold Irons Bound is probably
one of my new faves for him to play during the show. Just great stuff. I'm
even digging A.A.W.T. which I hated with the long extended jams that
always seemed to end like a train wreck before. Even Cat's in the Well
seemed to be even better phrased vocally than the night before.

His voice seemed stronger than the previous show. But as usual, it 
seemed to take until after the first few songs for him to find his 
range. He was up there stomping around, bobbing over the keyboard, 
playing the harp and throwing them down on the floor to be retrieved by
his stage assistant. Great stuff. Plus the Bob Seger song as a second
encore "Get out of Denver." A nice nod to Seger a Detroit boy getting into
the rock ' n' roll hall of fame that day. Bob and the band came out and
really turned it out. He rocked it so well, that Larry and Tony at the end
of the song as Bob was smirking strolling towards center stage got very
dramatic applause from the two as he shook his head and laughed. I suspect
they may have worked out the song in sound check that day. But it was a
great closer to the show.

Small highlights include Bob actually standing away from the Keys 
during L.A.R.S. to look into the crowd as the crowd sang and cheered and
seeing him nodding and surveying the crowd and then stepping back up to
the keys to join the band. It was a nice moment.  Also cool was as I
departed with my friend hearing a few people saying: "Shit. I've never
seen him when he didn't play the guitar." Yeah, I had to smile. I miss the
guitar too. But Bob on the keys is fine in a totally different sort of
way.

Can't wait for tonight's show. Just to see what he does different.

It started with "Silvio" - solid rock.  The band is as tight as I have
ever heard, certainly capable of propelling us all into new places, and
possibly the secrets, heretofore unknown by the living.  The journey
continued, through "Senor", "Cry A While", to the early lament for a lost
love "Boots of Spanish Leather," which brought many oohs and aahs for old,
sweeter, more innocent times.

But there was not much sentimentality, or replays of old times.  The music
rocked, boogied, jumped, and mostly touched that place us old timers
remember from our salad days.  The music that kept us dancing, till we
just couldn't do it any more.  The music that ignited the energy that made
our parents uncomfortable, and caused formerly sane people to pollute the
air with burning vinyl, in the name of all that was right and good.  The
music that they said "sounds like it comes from Africa" with an
appropriate sneer, "yeah, sounds like those drums they play over there." 
And the music that they predicted would bring an end to civilization as we
knew it.

And, by God, they were right.  The music cut loose an energy that had been
suppressed for hundreds of years, the energy that was almost killed by the
"enmity between thee and thy woman", the energy that lets us know we are
alive, the energy that was hiding when we looked around at our 1950's
world, and thought "there must be more than this!"  The energy that gets
twisted in the confines of the power hungry personality, seeking to
control the world because he can't live with himself.  The energy of the
back woods road house, and the back woods church - both rocking, one
Saturday night, and the other Sunday morning.

The music kept us rocking in that cradle all night long.

And then Bob stood there, front and center, and the crowd was so noisy he
couldn't even introduce the band.  We were howling.  And he stood there
looking out at the crowd, and the image stayed with me.

Once I was in my yard, and the cardinal alighted on the fence, maybe five
feet from me.  And instead of noticing I was there and flying off, he
turned and made eye contact.  He could have been saying "Geez, it's really
hard busting ass all day to feed my baby over there!"  Or he could have
been saying "Thanks for the food you put out, and saving me from that cat
during the blizzard last winter."  But I don't think so.  No, the message
in his eyes was beyond words.  And the energy of the music is beyond
words.

And, that's what I felt as Bob Dylan stood center stage.

Dylan came on just before 8:00.  There were no spotlights used during the
set.  Dylan was dressed in a a black jacket with a silver stripe down each
arm.  He was also wearing a large hat.  The EYE backdrop was present for
the first half of the show.  It was lifted and a grey backdrop was
sparsely lit during each song.  Dylan did not speak or look at the crowd
during the performance.  After each song, Bob would walk over to a member
of the band, tell them what song was next, walk back to the piano(he did
not play guitar at all) and they would tear into it. The mix was fantastic
and it has to be one of finest concerts I have ever heard.

After the last song, Bob slowly walked to the center of the stage and
stood there, looking at the crowd.  He acknowledged them and walked off.
He returned after a few minutes and did the three encore numbers.  After
All Along The Watchtower, he again moved to the center of the stage.  He
took a microphone from the stand and began to introduce the band but the
crowd was shouting so loudly that his voice could not be heard.  He
introduced one of the drummers, realized that no one could hear him and he
began to laugh.  He put the mike back and walked off.

He returned again and performed Get Out of Denver in tribute to Bob
Segar being inducted to the RAR hall of Fame.  Bob walked to the center of
the stage, took his applause and walked off.  The lights came on and that
was it.

Bob is constantly changing his shows and evolving over this tour. A few
random notes, I agree, as most have posted that the 2 drum setup is not
adding a whole lot to the shows however on Hwy 61 the benefit of the 2
drummers came through loud and clear. Bob's voice is in excellent form,
the combination of small venues, good sound systems and song selection
make this one of his best tours yet. In the never ending tour I have heard
over 10 shows in the past ten years and Bob's voice at this point seems to
work well on blues growlers, rock and the occasional soft sweet tune(altho
less reliable on the latter). Highlights tonite were a rockin version of
Silvio to start the show with a bang.Boots of Spanish Leather which I
havnt heard in this version before and a great totally understandable and
not overdone Stuck inside of Mobile. Honest with Me also came across as a
great rockin tune. At this point I could do without the Summer Days. ..
seems like a throwaway, as does Cats in the Well but Bob must be diggin em
cause he is playin em on almost every show this tour. Watchtower was a
gem, warped into a spooky, creepy song, almost like Man in the Long Black
Coat, with different emphasis on the lyrics and none of the up and down
sing song of previous years.. this time Bob sounds like he means it and
how. Last encore of Get Out of Denver was a hoot.. at first I thought he
was going into Alabama Getaway which would have been fine.. but lo and
behold, he pulls this rockin Seger tune out of his pants and burns it to
the ground.. Bob and the band especially smoked on this final tune and I
would love to hear this on CD... a rare treasure ..Other random notes.. 
Bob must have a great back because he is hunched over the keys to sing
with his legs totally akimbo, right leg spread forward 3 feet in front of
his backstretched left leg and pounding away, sometimes inaudibly like a
crazed Jerry Lee Lewis clone. All in all, an excellent time was had by all
at this surprisingly hard rocking show. Bob keeps surprising us.

GET OUT OF DENVER
Bob Dylan and the Best Band in the Land
Detroit, Michigan 3/16/2004 The State Theater

Go! Get out of Denver, baby, go, go
Get out of Denver, baby, go
Get out of Denver, baby, go, go
Get out of Denver cause you look just like a commie
And you might just be a member
Better get out of Denver
Better get out of Denver
                 - Bob Seeger, “Get Out Of Denver”.

    Of the three nights in Detroit the second night is
by far my favorite. Every performance this night was
dead on and there was never a moment when I felt that
the intensity was not red hot and pouring from the
stage like molten lava. 
    “Silvio”, began the festivities and it’s amazing
because I believe this song has so far only been
played twice this tour and somehow I was present to
witness both of these raucous rave ups! At the Park
West it was difficult at the rail to really hear
Dylan’s vocal, but at The State Theater in Detroit
sound at the rail was absolutely not a problem as
Dylan’s voice rang out telling us about secrets only
dead men know. 
    “Senor”, was next and this one really is a song
I’ve always really connected with and have seen some
truly great performances of including one in
Cleveland, Ohio at Nautica in the flats in 1996. The
version tonight was quite astonishing as it more than
laid itself on the line and revealed secret truths I
can not and will not go into here. Let’s just say I
may be one of those dead men mentioned in the previous
song and that I will never get over how Dylan can and
does lay himself completely bare night after night.
The intimacy this song possesses especially on this
very night makes me shake, rattle, and roll in my
non-existent cowboy boots. If you ever want to hear
just how great a player Larry Campbell is give a
listen to this very performance!
    “Cry A While”, and as I listen now through
headphones to this “field recording” WOW WOW WOW like
I said at the beginning of this review the
performances (all of them!) are dead on. This, “Cry A
While”, is so wrapped in the blues I do not know if
I’ll be able to lift myself off of the floor. Is it
meant as a lament or a triumphant wail? Who the hell
knows or cares just keep it coming because I am most
certainly digging all of it!!! Again the guitars and I
believe it is Larry Campbell I am talking about at
this particular moment who is making me just want to
ball!
    “Boots of Spanish Leather”, and as mentioned in my
3/17 review someone had said about this particular
performance that it sounded like he could have very
well been thinking about Suze as he sung these words
tonight. God it really is a revelation to listen to
and I think may even leave the Northampton version
from 8-19-2003 in the dust. People can complain about
the growl all they want, but me I love how he uses it
to such great affect especially in a ballad such as
this. Makes me so sad and also strangely hopeful.
Sometimes experiencing bittersweet feelings can truly
bring some kind of closure and even when that is not
the case if a song like this is born from the
suffering well all is not lost. With regards to the
taper of this “field recording” let me just say that
at one point when Dylan is blowing the harp you can
actually hear as Dylan tries blowing a few notes and
all that comes out is his breath that’s how great this
recording is. I think this was when after not getting
any sound from the harp Dylan threw it down and man
was that ever funny to watch.
    “Watching The River Flow”, a song that sometimes
just leaves me going okay that did absolutely nothing
whatsoever for me while other times I discover myself
totally into the music and the delivery of the words
and basically I am dancing up my own storm. This was
one of those times as I danced away at the rail like a
small whirlwind who didn’t know any better. For some
weird reason the film, “Fahrenheit 451”, always comes
to mind when I hear this song.
    “Make You Feel My Love”, is next and is one of the
absolute highlights of tonight’s show for me as well
as of this three night residency in Detroit, Michigan
at The State Theater. Another song that can work
wonders on me leaving me breathless and in need of
oxygen while other times I feel like I’ve been beaten
by a wet noodle. God I remember when experiencing this
song for the first time on, "Time Out Of Mind”, how
enchanted I was by what this song had to say and
exactly how it was said. Ya so many critics singled
out this song and said it did not fit with the rest of
that genius album. I did not agree then nor do I agree
now. This is one of those songs that says it all
leaving no stones unturned or hearts untouched. Less
is more and this song also proves that without a
doubt.
    “Highway 61 Revisited”, and as mentioned in my
3/17 review every night this one just fucking rocked!
God I love how he goes from the rasping plea of, “Make
You Feel My Love”, to this Bible thumping blues
revival. This is road music so to be just sitting here
checking it out is a crime and if I actually drove I’d
throw this disc into the car and listen to this
performance over and over again until I reached
Gulfport, Mississippi for some serious R&R. 
    “Tell Me That It Isn’t True”, and he somehow pulls
it off again. After all that rolling thunder beautiful
noise we return to another plea this time actually
perhaps more of an inquiry about infidelity. I swear
it’s all I can do to contain myself when he says it
hurts him all over to know someone else is holding her
tight. We can all understand what he’s talking about
because we have all been through it. Ya Hank Williams
ain’t the only one so lonesome he could cry.
    “Stuck Inside of Mobile With The Memphis Blues
Again”, this was I guess just one of those nights when
Dylan played every song that can sometimes leave me
feeling nothing and yet there are those other special
firebrand times when one of these songs can speak so
directly to me I am left flying higher than anyone
should ever be allowed to fly. It’s an opera and I
swear to God it could be sung in some language I did
not even understand and still I’d be captivated by
this performance because it is very much the dancing
child and I love its Chinese suit!
    “Cold Irons Bound”, and though it’s hard to
believe this one was even better than Park West’s. Yes
there’s that echo that no one can quite explain, but
for whatever reason it’s there and I dig it. The only
other thing I’d like to say is I wish I were twenty
miles out of town perhaps heading toward the Phoenix
in Toronto and another performance of this sinister
valentine.
    Another new arrangement of an old favorite and
trust me you’ll never guess when first hearing the
intro what it could possibly be. It’s, “It Ain’t Me
Babe”, and God I don’t know what is stranger the new,
“Moonlight”, or this one either way they both totally
work and go in so many different and new directions it
would be impossible to name them all so I’ll just
leave it at you gotta hear it to really hear it and
hearing it live and in person would I feel be the
absolute best way to have it resonate inside of you
like a woeful symphony!
   As I have done with the other two reviews I wrote
for these Detroit shows I’m not going to mention every
song played but in fact leave something for you to
discover and I’m sure surprise/invigorate you. I do
though want to talk about two other performances from
tonight that really are extraordinary and can not be
left out from whatever this thing is I’m writing.     
    “Shooting Star”, and first I must say what an
interesting choice to follow, “Honest With Me”, almost
as if after being somewhat stern with his significant
other he is going to now place some of the blame on
himself as well as revealing how sorry he feels about
lots of things including that shooting star that has
slipped away. This one is like Whitman’s, “Leaves Of
Grass”, boiled down to its pure essence and every word
here counts for something and you can most assuredly
hear this in Dylan’s superlative delivery as he
becomes Whitman as well as Twain and a few other
notable literary figures bringing us out of the
darkness and into a new day.
    I said I was only going to mention two more
performances and yet I’d hate myself if I did not say
something about the solo Freddie delivers on, “All
Along The Watchtower”, because it is a bounty of
poetry in perpetual motion. While watching this going
down the faces he was making showed how determined he
was to wring the truth from this Liberty Bell guitar
and I swear freedom did ring as he went it alone out
there in that frozen wilderness. 
    Now for the surprise of the night and what a
surprise it was and will forever be. Bob Seeger was
inducted into the Rock and Roll Hall of Fame this very
day 3/16/2004 so what does Bob Dylan come back out to
do after, “All Along The Watchtower”, well a Seeger
song of course and one that I’m not entirely certain
most people would know that is unless you are from
Detroit and quite familiar with Bob Seeger’s catalogue
of work. “Get Out of Denver”, is the song I am talking
about and just like the next night when doing The
White Stripes, “Ball and Biscuit”, it was quite
obvious he was reading the lyrics and yet it did not
diminish either one of these incendiary performances.
They nailed this song by Seeger and if you want to
know just how well they nailed it go onto Google and
find the lyrics (version two) and read along with it
as he spits out these words like he has always been
preparing for this very moment to do this very song in
this very city on this very night not to mention the
band that goes more than the extra mile to make damn
certain Seeger is given his proper due. It wouldn’t I
think be an easy song for anyone to perform I mean
there are allot of words and the melody is fast so you
gotta be quick and very precise when delivering these
lyrics and Dylan absolutely meets the task and pays
serious homage to Mr. Seeger who may have even been up
in the balcony because during I believe, “Rolling
Stone”, he started looking up into the balcony and
continued to do so right up to and through this
dynamite performance. Even if Seeger was not present
to witness this baptism by fire obviously he heard
about it and I bet he shed some real tears because I
mean Bob Dylan and the best damn band in the whole
land doing one of your tunes and doing it this well
has got to be quite a thrill.

Charles Eric Cicirella
March 20, 2004

It's deja voodoo all over again as we cross the threshold into the second of three glorious sets 
courtesy of Bob Dylan And His Band.  A minor snowfall blanketed us today in Detroit; after a tease 
of spring we thought we were through with winter's mischief.  We here in southeastern Michigan
think we're so cool,but we fall for the same tricks of nature every year around this time.

Tonight Bob and company chose "Silvio" to open the magical musical pageant, and it sounded great.
This used to be a staple circa '96-'97, but now is but one of the dozens of arrows he pulls from 
his quiver.  Tonight his audience seemed a little younger, and surprisingly the reefer haze a 
little thinner, but they were equally enthusiastic to the previous patron group.  The band slowed 
things a bit for a lovely "Senor (Tales Of Yankee Power)", before roaring back with a grinding 
"Cry A While", the only song from "Love And Theft" apart from "Po' Boy" that I hadn't seen. "Boots 
Of Spanish Leather", one of the greatest love songs ever written by anybody, was sheer bliss.During 
this entire stand Bob was in tremendous voice, having control over tender ballads and furious 
rockers alike.  His raspy vocals carved chunks out of stone, finishing his art with a sculptor's 
finesse.  The band was even more energized than last night, romping through one number after 
another.  "Watching The River Flow", "Highway 61", "Stuck Inside Of Mobile" all fell under the 
vulcan hammer of Freddie, Larry and Tony.  The drumming tandem of George Recile and Little Feat's 
Richie Hayward was excellent, providing more bottom, alone or together, that strengthened each 
selection.  "Make You Feel My Love" is now far superior to the original recorded version. "It Ain't 
Me Babe" was played in the new arrangement as featured in the autumn European tour, quite different 
from the days of the acoustic sets when a song like this would practically squeeze tears from a 
heart of rock.  Bob's gnarled and worldly fingers may no longer articulate his words on the 
fretboard, but he compensates by reshaping and creating anew,and having the confidence to allow his 
band to help him create.  I really think that's to a degree how he sees Freddie Koella; Bob uses him 
as a foil to bounce off of in the execution of his music.  That's why sometimes, and it seems to be 
to a lesser extent this year than last, you'll hear Freddie play things that sound just like Bob 
used to on electric, to varying success.  During last night's "Like A Rolling Stone" Freddie began 
a figure that sounded completely out of place, strangling odd Bob-like notes out of his guitar, but 
that manifested into a really nice complementary solo.

"Shooting Star", in the ballad slot toward the end of the main set, was a personal first-timer and a 
song I was more than happy to finally catch after all these years.  Ya gotta love those "Oh Mercy" 
tunes.  Some things just stick in your mind, and I can retrieve mental snapshots of Willie Dixon 
tapping his cane in time to the music at a blues show I once attended, or Honeyboy Edwards playing at 
last year's Sunflower River Blues and Gospel Festival in Clarksdale in the shadow of the station where 
Mississippi Muddy Waters left on a train Chicago bound.  I have several Dylan images like that 
committed to memory, and from this State Theater stand I can add another.  Between songs when the 
lights were down, I'll always remember the silhouette of the most famous profile in rock 'n' roll 
prowling the stage in his black flattop hat.  The most recognizable nose this side of Barbra 
Streisand!  Abe and Beattie,you did just fine.

The encore complete,seventeen songs having lapsed into the annals, I said to my pal Dan Teo, "That's 
it! It's over", and in my southeast Michigan smugness headed downstairs to the bathroom before heading 
to the exits.  But through the plumbing and flushing water I could hear Bob Dylan And His Band had 
retaken the stage!  I hurried upstairs to find the minstrels in full flight, rockin' out on what I 
thought was "Subterranean Homesick"!  Of course it was actually "Get Out Of Denver", a one-off cover 
as a bow to the induction of nice-guy rocker Bob Seger into the Rock 'n' Roll Hall of Fame.  In my 
humble opinion Seger had done his best work by 1978, but it's certainly nice to see him get his due. 
And there was Bob Dylan, givin' it back one more time.  The song was great, the crowd loved it, and 
Bob gave us something truly special, just for us.  "We had to pinch each other just to see if we was 
dreamin'"!

Bob Dylan's 29th Dream having concluded,we crossed that threshold back into the snowy real world, the 
austere landscape that is the Motor City.  We would get to come back for one more round, tomorrow 
night.  "We Love You,Jack Fate!"

Don Ely
Rochester,MI
kingsnake78@hotmail.com

Every concert revue I read is so positive.I was at the Stage Theater in
the balcony and the sound was not that great up there. Dylan's old songs
all have a new twist to them which is alright but I would like to hear a
few in the traditional style. Dylan never came out to the middle of the
stage where an empty microphone stood. He stayed behind his keyboard all
night. The double set of drums was different, I will say.Maybe I am
getting old or Bob Dylan is ,but I have seen better concerts done by
Dylan. As far as the State Theater  is concerned, they were very thorough
in searching everyone. The employees ran around with flashlights shining
in your face as you watched the show. I saw a customer get kicked out of
there late in the show. The employees were pushing him and rough housing
him along with epithets. A throwback to the old Nazi brownshirted thugs of
 pre WW2  Germany. I guess that is what the average paying customer must
put up with in this day and age.Love and peace...forget it!