Review by Robert Kustel
So Karen and I braved the rainy weather on Tuesday night -- I think the
current count is rain on 30 out of the last 32 days, no joke, a record in
these parts -- and journeyed 30 miles north to Santa Rosa. We dashed
through the rain and remembered seeing Bob in Hershey, Pennsylvania, in
1994. An unbelievable rain that evening drenched the outdoor crowd, but
it was one of those humid, tropical, east coast summer rains. The kind of
rain where you don't even care if you get wet, and we eventually quit
trying to stay dry. It was beyond torrential, that's for sure. Anyway,
halfway through the show Bob huddled with his band -- Bob never huddles
with his band, so what is this? -- then broke into "Hard Rain" -- a seldom
played gem that stunned the soaked audience.
So this was show number 25 for me, 19 for Karen.
The venue was the Grace Pavilion at the Sonoma County Fairgrounds. It's a
different landscape up there -- to give you a feel parking was $5. There
was no security -- we handed our ticket to a long-hair and waltzed on in.
If you wanted dinner your choice was either a jumbo dog or a regular dog.
The Grace Pavilion belied its name -- maybe "A
Tin-Roofed-Airplane-Hangar-suitable-for-Pig (Circuses)" would have been
more appropriate. I wonder when the last time Bob played inside with a
temperature lower than his age -- he'll be 65 next month. We kept our
warm coats on the whole time and wished we'd dressed warmer. The show was
General Admission. I hate GA -- too much of an advantage for people who
get there early and have the ability to stand on concrete for four hours
-- neither of which are my strong suit. We sat on some aluminum bleachers
in the very back. This turned out to be kind of a blessing as the sound
mix was excellent.
Bob came out at 8:10, wearing a black bandalero suit with red piping, a
blousy red polka dot shirt, and his black bandalero hat. He looked good
-- a little gaunt but not frail. He spent the entire night at the
keyboards -- evidently his arthritis limits his guitar playing. Unlike
his last shows at the Paramount, he was more upright and did not appear to
be trying to read lyrics from any cheat sheets. I'd say he danced. In
between songs he'd kind of saunter aimlessly around the back -- near the
Oscar he won for "Things Have Changed" -- before stepping back to the
keyboard. He also played the harmonica quite a bit, which is always a
treat for me.
Not surprisingly, Bob has re-arranged his songs once again. He opened
with a ballad-like version of Maggie's Farm, and the sound mix was the
best I've heard in some while. Too often all the noise is jumbled up --
last night Bob's microphone was turned way up and you could hear every
word. His voice was outstanding -- not too much growling, and plenty of
articulation. His singing was also excellent --he's mostly dropped that
up-sing at the end of every line, which I found tiresome over time.
The 4400 people in the sold out Pavilion were mostly gray hairs with a
healthy mix of teens. Near the end of the show, as we stood and listened
to "Like a Rolling Stone" some guy over my shoulder kept yelling "Bobby!
Bobby!" I looked back and was kind of surprised -- and happy for some
reason -- to see a fourteen year old hollering at Dylan.
The set list was fine -- no surprises. High Water was a highlight for me
-- not normally one of my favorite songs but the banjo and overall
arrangement was beautiful. Queen Jane was heartfelt, so was Spanish
Boots. In the song "Lonesome Day Blues" Bob substituted a line: "Makes
me glad I'm alive" for "I wish my mother was still alive." Call Freud.
I don't know about this band. I think I now realize that Larry Campbell
(the former guitar/mandolin player with the long hair on the right) and
Charlie Sexton (the heart-throb on the left) were sizzling guitarists who
stepped up and rocked. These guys (Stu Kimball and Denny Harron) hardly
kick it in and spend most of the time watching Bob, as if they were afraid
to miss a turn. There doesn't seem to be much joy, either -- Charlie and
Larry would always be smiling at Tony, or whatever, and seemed to have a
good time. Who knows, maybe it's just Bob wanting a different sound --
less garage-rock and more R&B. They played with more confidence then last
year's Paramount shows, I'll give them that.
This guy Donnie Herron on pedal, violin, and banjo seems to have been
elevated in the band. His sound is turned up and Bob seemed to be giving
the cues to him. I can't tell if George Recile is a good drummer or not,
and my favorite thing about the bass player is the way Bob introduces him
-- "Tony Gahr-nya." He's been introducing Tony Garnier on Bass for 20
years now.
We skipped "Watchtower" to try and get around back and catch Bob getting
on his bus. No luck -- the bus was in a secure area. Our luck turned out
to be great, however -- the five minutes ended up saving us hours because
we were about the last car to get through a flooded Highway 101. The rest
of the poor souls were diverted through God-Knows-where.
Robert Kustel
Review by Mitch Meyer
The whole setting at the Santa Rosa show was special. It had to be one of
the best settings imaginable for a Dylan show, and he and the band rose to
the occasion with a great performance. While Stockton the night before
was very good, the whole experience last night was magical.
Stockton is in the Central Valley, which is mainly agricultural, Bible
Belt, and conservative. The hall was a brand new, generic sports arena
downtown, with no particular character. Everyone had to stop and spread
their arms for a pat down search as they entered. It all felt a bit too
much like America in 2006. There was a lot of tension in the crowd
because everyone in the first 25 rows or so on the floor stood up from
their folding chairs as soon as the show started, but there were various
people around who didn't want to stand and were loudly complaining during
the show. Occasionally, an usher would tell people near the aisle to sit
down, but everyone refused because the people in front of them were still
standing. The people who wanted to sit then got angrier. It was all not
very conducive to focusing in on the performance. Dylan was intense and
focused as usual. I had to admire his guts and integrity to re-work "She
Belongs to Me" so radically, with the bizarre melodic innovation of
singing the last note of each verse real high, and then bringing it down
to a baritone. All on the same note! I don't think I've ever heard anyone
sing like that, and with his less than stellar voice, it was truly
jarring. But I admired his guts to do it because he wanted to give it a
try. The bleachers were mainly full but almost everyone was sitting still
throughout the show. You didn't get the feeling that many people in the
seats were real intense Dylan fans. It seemed more like a matter of
taking in a show by a famous name at the brand new arena here in our small
city. All in all, Stockton was a good show, but there was not much
electricity in the air. Dylan and the band seemed to be a real work in
progress with lots of moments that didn't jell among some that did.
Santa Rosa was a very different scene. It went to the opposite extreme of
having virtually no seats in a plain airplane hanger-type building. It
was like a college field house, just a simple rounded roof going straight
back, just a purely functional, basic space. This meant that everyone had
to stand. No disputes or arguments. I was about 10 rows back from the
stage in front of Dylan. There was no security to speak of and people
could do as they pleased. And Santa Rosa is another world culturally from
Stockton: in the heart of Grateful Dead, yoga, organic, wine country, and
way to the left of the mainstream Democratic Party. The crowd looked
totally hip and was obviously full of fans who know and revere Dylan's
work. (How many more scenes like this still exist in America, and what
about 10 years from now if things keep going the way they're going?) From
the beginning, the difference in atmosphere showed. The audience was
moving and rocking from the first note and the group had to sense the
energy. As the concert progressed, the band seemed to get tighter and
they started feeling that they were hitting their stride. Every song
clicked. Donny Herron, standing right behind Dylan on pedal steel and
watching his every move, started to smile as he played with a look like,
"This is starting to really come together now." Denny Freeman was more
consistently on target with his solos than the night before.
Highlights for me were "Lonesome Day Blues," "It's Alright, Ma," "Till I
Fell in Love with You" (great swampy blues vibe), "Boots of Spanish
Leather," and a beautiful and heartfelt "Don't Think Twice." "High
Water," with the driving banjo is always a killer and I was even able to
get into LARS this time, with Stu burning on his first solos of the night
after being relegated to a rather tame rhythm guitar the rest of the show.
The most intriguing Dylan moment was on the very last notes of the main
set, as they were finishing "Summer Days." All night long, Dylan, as
usual, was totally emotionless, sauntering around coolly between each
song, but with no change of expression. As that last song of the main set
wound to a close, Dylan looked over at George and suddenly burst into
total laughter . which lasted for about two seconds and then he resumed
his emotionless expression as he turned and walked off the stage before
the encores. Was this a response to something that George did as the song
ended, or was Dylan not able to contain his joy any longer about the
performance? We'll never know, but he's always one intriguing guy to
watch up close.
It felt like everyone left the building feeling like they had just seen an
awesome and explosive performance. I would rank the impact higher than
any of the three Oakland shows last year or two of the three Bay Area
shows in 2004 (the UC-Berkeley show that year also reached great heights
with a terrific perormance by Dylan and a superb set list). This group is
able to jell and reach more powerful levels than I had previously
imagined.
Mitch Meyer
Review by Colin Selig
Tonight's performance in Santa Rosa was one of the best Bob has given us in northern
California in recent years. It was an inspirational event, up there with San Jose in '98
and the Santa Cruz shows in '00. This show was cracking right from the opening notes
of 'Maggie's Farm,' with each song significantly improved from the previous night's
performance in Stockton. This band is solitifying well. If you want to know what's
going on musically I recommend reading James Strohecker's review of the Reno show.
Thankfully Bob is encouraging both Denny and Donnie to step out, and each are making
terrific contributions to the sound. Great banjo on 'Highwater.' There were so many
highlights. We got absolutely captivating beautiful versions of 'Don't Think Twice, It's
All Right' and 'Boots of Spanish Leather.' The ballads are so sweet. Bob sounds rested.
Lyrics are clear and he's delivering each line like he means it. If you have tickets to this
tour you are in for a treat. Safe travels Bob. I miss you already.
Colin Selig
Review by Terry Way
A Rainy Night In Rosa
Coming out of the rain and walking into the The Grace Pavillion I felt
like we were entering an airplane hanger. This was one large rectangular
Quonset building that was nicely packed, standing room only with eager
fans. Sliding into position somewhere in the center quarter of the floor,
it wasn't long before the familiar introduction began. From the opening
lines of Maggie's Farm, it was obvious the sound was going to be very
nice. Bob's vocals were clear and up front. The mix on the rest of the
band was great as well. Bob's new organ sound used throughout the show had
qualities that reminded my ears of Levon Helm from the Basement Tapes
sessions to Ray Manzarek of the Doors at times. Other times he sounded
more like a drunken organ grinder playing background riffs to a circus
sideshow. The stage and curtains were elegantly lit and made for a visual
treat. The band sounded tight and relaxed and Bob seemed quite content.
High Water was a show highlight and I got chicken skin thinking of this
being played in post Katrina New Orleans. It will be fun to watch this
Tour develop. Cheers!
T. Way
Santa Cruz
Comments by Mark Solomonson
The fairgrounds was a great place to be able to see Dylan, funky, not too big,
easy to get in at 7pm and go up to stand in front of the soundboard.(my
wife is short so she and lots of other shorter folks did not get to see
much of the band). It was my wife's 1st Dylan show, I have not seen him
for quite a few years though. I miss him on guitar! Nice show, the sound
was good up front, I thought Dylan's vocals on the bottom end were blown
out, almost hoarse at times, his mid range was fantastic. Great tunes,
nice arrangements and pretty mellow overall. We both enjoyed the show, the
band tight and crowd mellow. A good solid show, but for me nothing
spectacular. very enjoyable!
Mark Solomonson
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