July 14, 2012
Review by Almofada
Bob Dylan plays his songs often in the most remote-st of the world's
remote concert sites. It is a real damned sacrifice to get there, and the
exorbitantly insane ticket prices might have their share also, that there
appears a strange mixture of an "elite" of super-arrogant
moneymaking-aristo-crazy-ness with high-heeled catwalk women and thick
platinum watches on their wrists who can easily afford exaggerated meals
before the show, and broke-down grey-haired music fans who sit quietly on
fences, biting fingernails, having travelled through the whole Europe to be
near to their idol for two hours, even without a ticket... Some sport old
Dylan tee-shirts like speaking proves of long-ago sufferings: look, iI was
there, twenty-three years ago - and you...? Where were you then? The
average age in this concert is certainly nearer to the 60es, than the 30es
(of age...). With 25, 30, you must feel as a toddler here in the
surroundings of big bellies, white hair, fancy cars...
The black "Beat the Street" buses, the "Rock 'n' Roll Touring" trucks are
parked on adventurously sliding corn fields... This has nothing to do with
the other leg of tours, the faceless easy-to-access football fields, like
RoRo ferries of petrified boredom. They also have to exist, for sure: there
must be forks and knives, to cut something...
Finally, we got there, of course not among the rich, but also not selling
our souls for rock and roll. Being painstakingly corrected by proud
Catalans that it has to be pronounced "Kap Rrroit-schsch" instead of "Cape
Roi-k", we have to let pass those VIPs in their BMWs, Chevrolets and Audis,
with the back seats behind blackened windows... A local Audi dealer seems
to have sponsored the festival, so he has the right to present the new A1
and the SUV Audi Q3 - but would you buy right now a new car, here?
The magic of the site, reflected in the natural breathtaking beauty of
small beaches, rough rocks in the azure-blue waters, a cloudless sky, rare
plants of the local Botanic Garden...
Very easy, very relaxed, the gate opening. Al Santos can be spotted, but as
we know, no spoken words from him on this tour... Cameras, of all sizes,
are admitted. No problems... I remember, a couple of years ago, I was
carrying a camera in my bag, in Valladolid, and the tight security forbade
me to enter in the concrete concert hall, even with a paid ticket, no
chance. Tens of badly recorded videos, with shaky cell phones, appeared
later on YouTube.. but I was excluded... Saddened, I went back to the
hotel, while my wife enjoyed the performance...
So this time, I went without camera, and it was common for everyone to
carry cheap or expensive optical gear openly into the ranks without being
seized and confiscated. How things have changed...
Suddenly, a voice, in Catalan, Spanish and English, announces: 10 minutes
until the concert. 5 minutes until the concert. At Ten o'clock, exactly,
the voice announces: The concert is about to begin.
And it did. The spectators, used to a rather relaxed Spanish handling of
laws, times, salaries, traffic rules... suddenly had to rush and run and
hurry for their seats. It lasted for at least one and a half song, and even
so, a handful of seats, with ticket prices of 200 € and more, stayed empty
throughout the whole concert.
What is described by many as a Grand Piano, in fact it seems to be "not so
grand"... the shape of a Grand Piano, but the cover is closed where the
sound should come from of a "real" classical piano, so I suppose the sound
was generated and amplified electronically. Dylan took his seat almost
sideways, like sitting on a women's saddle, thus his strange movements
with his legs were visible. Onstage was also the odd old electro-organ, but
he did not really touch that yellow thing, the notes from his "new hobby"
seem to be more exciting. He is far from being a genius on the instrument,
plays it merely like a sound experimentator, like he used to noodle on the
guitar in the end of the last century... But it sounds both ridiculously
out of place, and chaplin-esque, dalí-esque, picasso-esque
impressionistically dropped and repeated notes
of comments to his own songs, both childish and wise... The applause came
rather low key, as if the clappers were nourished by a certain fear, to
rattle with their silver bracelets.. Also the "stage rush" before and
during "Like a Rolling Stone", was not a violent longing for being finally
near the stage, and overturning of the security, but a more "civilized",
slow, serene, settled walk towards the "snake pit".. like " it had to be
done by someone, so - why not supposedly we?" Fittingly, Dylan picked up a
bouquet of roses at the end of the show.
If you listen to those perfectly recorded "bootleg" shows that are spread
on the internet, you might think: upsinging - mm-hm. harp playing solos -
mm-hm. a song list with no surprises - mm-hm. But this dry far-away
attitude lacks completely the visual aspect, the sensual part, the
intrinsical logic of the performances: suddenly, the "bad state of his
voice" seems logical, the little funny dance steps seem to become coherent,
the white hat begins to tell us "something", or another thing, the Sinatra
parts fall into their right places... It is hard to put that into words,
but it is a feeling, an overwhelming sentiment that arises, and stays for a
long long time, may there be those day-to-day struggles or inevitable
deceptions to come, for sure. It is not the set list that had almost no
mentioning of "Spain", "Spanish leather" or "Barcelona" or even "Madrid"
in it, as it could have had. This is not important any more. What counts,
is the togetherness of the beauty of the site, the attitude of the singer,
the spectators, the "peaceful easy feeling", I speak for me only...
maybe... And "Every Grain of Sand" would make a perfect song to be played
at my funeral... in Emmylou Harris' version, or in the writer's Cap Roig
version.
We were there, and
Thank You, Bob... for making this... possible.
("I believe in you / even through the tears and the laughter")
Almofada
Review by Cris
This was the 13th time I saw Bob, having started precisely 13 years ago,
when I saw him by chance, in a concert.
Too late? Maybe, but much better late than never, because he is someone who
can do something very, very difficult: to change a person life.
It seems quite exagerated, but Cap Roig´s was really THE BEST SHOW I saw in
all my life.
Bob is in an amazing shape and his voice better than ever! And he was also
in a very good mood, lots of eye contact, moving nicely at the center
stage, being, as always, absolutely inspired. And he is supported by an
AMAZING band.
In “Things have changed” he underlined these words looking at the crowd,
and I felt something has really changed in the concerts, and it is not only
the presence of the grand piano.
All was fitting in this show: the incredible performances, the weather, the
place, the views, the starry sky, the setlist, even the castle behind
stage... It was perfect and all the difficulties I had to get there, at
this particular place and day, are nothing compared to what I´ve received
from Bob.
The performances are so good that it is difficult to select the better, but
my favorite was “The Lonesome Death of Hattie Carroll”, I think nothing can
be better sung, and he put us on fire. He is repetitive when it is needed,
and that is carrying us to another spiritual level, I think.
Well, I need to say: Thanks Bob, for making this possible.*
Cris
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