November 6, 2019
Review by Don Handy
Before last night’s show, two ushers told me that I couldn’t use my
binoculars. What, Bob Dylan only wants a hundred or so people to see that
he has wrinkles, at any given point of the show, rather than 110? Looking
around at the audience before the show, at least 90% of us have felt the
effects of wicked gravity, which we can see every time we shave or put
make-up on. So stop hiding in the shadows, and being such an asshole. I
suppose on the next tour we’ll have to check any and all glasses and
contact lenses at the door, and on the tour after that we’ll all be
issued sleeping masks upon entry, which we’ll be forced to wear
throughout the show. We’re already paying a pretty penny to see him
perform; the added hoops he makes us jump through are not amusing.
At the risk of this becoming a gripe-fest, is Dylan really so cheap that
he can’t afford to play some music before the show? It did give me a
chance to reflect undistractedly on exactly what I was doing there, and
the best I could manage is that, while one can’t resell a memory,
should one need to, it is also something that will always be with you, as
part of your collective experience.
The show itself is as good as advertised, Dylan in fine voice, performing
passionately throughout the show. While not a nostalgia show, he does
manage to touch base with points in his past. For instance, the first song
I ever saw him perform live is “When I Paint My Masterpiece” and, even
if I do manage to see him again, the two versions I’ve been lucky enough
to witness will still be experienced-defining bookends, not unlike that
which Marianne Faithful has done with “As Time Goes By.” Of similar
impact were “Lenny Bruce” and “Girl of the North Country,” both of
which I’ve seen him perform several times in ’81, and which brought
those shows back to my mind, even though the performances were distinctly
different. Most of the rest of the set is of equally stunning
high-quality, a level that we’d be lucky to catch a few songs at during
any given show. Credit should be given to Donny Herron, as his violin and
steel-guitar work substitute for the Hammond B-12 organ sound of earlier
years, sweetening the medicine like the proverbial spoonful of sugar. Even
the songs that I normally dislike sounded great, save for “Pay In
Blood.” The way I figure it, Dylan has always been aware that he’s
playing a character named Bob Dylan, and that these days the character of
Bob Dylan is that of an old bluesman, which includes some noxious
attitudes. Thing is, Dylan has also spent much of his career playing
against expectations, and that several of the Tempest songs are clichés.
This includes the set closer, with it’s sexist Madonna/Whore, or
Mary-Queen/Harlot, complex, even if it is wrapped in an elegant, moving
waltz-time melody. Aren’t you glad that you’re not me?
As such, I couldn’t help but take the first song of the encore rather
personally. Then again, doesn’t it reflect on all of us who write
reviews of his shows? Well, I knew exactly what it was that I was going to
say when I got home. You may disagree, but I believe I got it. Was also
interesting to see him close with an old classic that I don’t believe
I’ve ever seen him do before, a sublime mixture of the old and the new,
much like the show in it’s entirety.
On the way out the door I bought a program and, stuck in a line in a
parking garage afterward, I opened it to see, in large letters, “Dylan
‘ The Greatest Artist of our Time?” Christ, I thought, what an ego.
Don Handy
Review by Laurette Maillet
Ann Arbor. I will certainly appreciate this one. As I was uncertain to be
in, having been rebuffed in the afternoon by Dylan security... They
believe I'm a "freak"..What do they know? I relax. First row....on the
balcony. Plunging view on the stage. Bob is dressed with a suit I've seen
before; black with embroidery, pink shirt(it looks from far) and white
shoes. His pants will stick in his boots after few piano plays. Who cares?
The first song and second are disturbed by folks taking their seats. Bob
started right on time. " Highway 61" is a must. My spirit finally getting
high. I am here for the show. The sound is good. His energy is high. I
am back to my karaoke time. Even " Honest with me" captures my
attention. "Make me feel my Love" reminds me why I am here for : " I've
been to the end of the earth for you..." Every single song is great
tonight. The public is into it. I hear some applause after the Bob Britt
solo on "Pay in blood". And applause for " Thunder...". The first row will
stand up for "Ballad.." but will be asked to sit down. Can't be too much
enthusiastic! That will disturb security people! Ah ah. "Lenny Bruce" will
stir up some consciousness. Some folks shear at the line "he was the
brother that you never had"... " Ballad..." Is a must. Too bad it is
almost over. I started to be happy and warm(physically and spiritually).
I don't know if Bob could do a lot longer, he still appears stiffed body
to me. A little bit static. But the voice was powerful. The harp breath
taking. I say thanks to my precious Angel.(who asked me if Bob who
do....Hurricane??). I am still mad at "Security Bob" and all those
"clowns". They do a great job but a little bit of humanity would be
appreciated. Who said the Fans are enemies? Thank you Bobby.
May your heart always be joyful.
Review by Dave Inman
Tonight is my 22nd Dylan show, all in the last 15 years. Saw him first as a
college student in 2004. Exactly 10 years, my wife and I were seeing his
Fox Theatre show in Detroit. Though my last show was 2017, Dylan and
the boys had a very refreshing performance tonight.
Dylan came out in a black sequenced suit with bright, white boots.
No hat.
I was seated in the upper balcony, but the steep slope of the seating
made me feel like I was sitting above Dylan, like watching a Roman
gladiator at the Coliseum.
The younger guy sitting next to me, Garrett, it was his first show. Told
him to enjoy seeing Dylan on the guitar for Things Have Changed, he
probably won’t play it after this song. Pointed out the Oscar statue near
the piano amps that Dylan won for this song.
The crowd was excellent. During the slower tracks, you could hear a pin
drop. There were no drunken idiots yelling out for Bob and very little
conversing during songs. During quiet, almost piano solo renditions of
Masterpiece and Lenny Bruce, the crowd was laser-focused on Dylan.
I can’t recall if the first harmonica blasts came out during It Ain’t Me
Babe or Simple Twist of Fate, but the crowd showered Dylan in cheers
after each solo. I think this spurred Dylan into the bigger and longer
“H Bombs” (harmonica bombs) that were to come.
The band has reinvented many of the older and newer songs and it
was so refreshing and welcomed. Highway 61 used to be boring (after
hearing it played the same way 20 times) but this new arrangement
was interesting. Songs like Honest With Me, Can’t Wait, and Early
Roman Kings were fun unlike many other performances I had ever
seen. The boys seemed to be having fun with the new arrangement
and mid-song tempo changes.
Trying To Get To Heaven was given a more upbeat treatment and it
worked ok. The original arrangement and lyrics are bone-chilling.
Speaking of bone-chilling, the hush of the crowd and the slow delivery
of Girl From the North Country seemed to drop the temperature of
the arena. You could feel the winter winds hitting heavy on the
borderline.
The performance was soaked with emotion. A woman in front of me
openly weeped during Trying To Get to Heaven. You could hear
sniffles during Lenny Bruce and Girl From The North Country. After
Make You Feel My Love was finished, the younger man next to me,
Garrett, turned to me with tears in his eyes and said, “We buried my
mom in August and played that song at her funeral. I’m so glad I got
to hear that song tonight. That song alone just made my night.”
Security was tighter than I’ve ever seen, especially way up high. I
heard a bootleg of a show from a few weeks ago. I heard the new
arrangements and lyrical phrasing. That bootleg is one of the reasons
I attended this show. I wanted to experience the “new” Dylan
arrangements. I’m not saying he needs to have a Tapers Section like
the Grateful Dead, but let people record a few minutes of a song that
means so much to them.
The new drummer, Matt, was rockin and great. Bob seemed to give
a lot of cues to Donnie to pass onto the other guys. He used to signal
to Tony all the time. Charlie hasn’t aged a day since 2004 when I first
saw the Sexton-Campbell lineup. Charlie played lead most of the night,
but the new guitar player, Bob Britt, also had some nice solos.
If you’ve seen Dylan a bunch, you will appreciate this tour more than
most recent tours. If you’ve never seen Dylan, he mixes enough hits
with the newer tracks. Don’t sleep on his albums from the last 20
years.
Thank you Boblinks for all you do. Thank you Dylan for staying on the
road and entertaining us. May you stay Forever Young.
Dave Inman
Durand, MI
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