Bob’s new tour, for the main part, has been pressing on… but without the Press.
We’ve been sharing rave reviews here at The Society since the beginning of November when Dylan finally got the chance to take his strolling bones back on the road again after Covid, the tragic hint of a sex scandal and the release of the stunning beautiful Rough and Rowdy Ways.
And the reviews, mainly, have been written by the man-and-woman on the street who’ve got other things to do with their lives but took the trouble to jot down notes and thoughts and their enthusiasms for Bob and his band landed in places like Milwaukee, Bloomington, Hershey and Moon Township.
But the traditional Press and media seem to have been a bit tardy in getting on board … it is almost as if they’ve got their ‘woke back thanks to the moan’ of a woman who claims she was assaulted by Bob in New York more than half a century ago when most evidence points to him being in the UK at the time.
As a music critic for many years I am aware of how this sort of potential scandal can colour the decision of a newspaper’s features editor on which concerts etc to pay some old hack like me to review.
But at this moment the jury is out and I personally would rather put it down to the fact that Bob’s brilliant tour hasn’t been hitting many big cities yet and once it does things will change …
Meanwhile, here are four professional reviews by newspapers along the way. Let’s see what they are having to say compared to the fans who have become writers and critics for their love of Bob.
Scott Tady Beaver County Times
MOON TWP — Phones stashed in pockets, masks secured around mouths, a Moon Township crowd cheered robustly Monday as Bob Dylan chugged through a 17-song set, almost half of which were drawn from his highly praised 2020 album, “Rough and Rowdy Ways.”
Seated at a wooded piano sharply angled toward his UPMC Events Center audience, Dylan sounded spry and seemed enthused. The creaks and sandpaper-y rawness of his 80-year-old voice fit the roadhouse blues-meets-lightly-twangy Americana of his newest material.
By night’s end, he’d introduce his five-man backing band, all in black like their leader. They were stalwarts, without getting showy, including Tony Garnier on upright bass, Bob Britt and Doug Lancio (John Hiatt/Patty Griffin) on guitars, and Steubenville, Ohio native Donnie Herron, formerly of the great alt-country band BR5-49, on pedal steel, violin and other instruments.
They started with 1971’s “Watching The River Flow,” which concluded with audience applause loud enough to prompt Dylan to say, “Aw, thank you.”
SCOTT MERVIS
Pittsburgh Post-Gazette
The early buzz on this tour, which is now 10 shows in, is that, having taken that pandemic year off, Dylan is once again singing in a manner in which you can hear the lyrics and make out what song he is doing.
That is true. The words were clear. Early on, the crowd even cheered him on during “I Contain Multitudes” when he sang, “I’m just like Anne Frank, like Indiana Jones/ And them British bad boys, The Rolling Stones.”
Just saw the Stones. Nope. Not now.
How should we say this? Dylan’s band — now with Charley Drayton on drums and Doug Lancio replacing Charlie Sexton on guitar — is a tightly wound, nuanced, almost dour unit that plays like it doesn’t want to make a mistake. The opposite of the Stones.
That was apparent right away on “Most Likely You Go Your Way and I’ll Go Mine” that had nothing resembling the wild swing of the original version.
Clearly, Dylan, singing in lower registers, wants everything to be reined in. There were, however, a few free-flowing moments, like the country fiddle romp of “When I Paint My Masterpiece,” the swinging “I’ll Be Your Baby Tonight” and the standout, a sped-up “Gotta Serve Somebody” with full-blown psych-rock guitar.
As for these “Rough and Rowdy” songs, “I Contain Multitudes” and “Black Rider” are the type with a haunting, theatrical quality that just floods the place with mood. Others, like “Key West (Philosopher Pirate)” and “My Own Version of You” are tediously repetitive and static, lacking that brilliant Dylan quality of building the drama of a song.
Jeff Elbel – For the Chicago Sun-Times
The first rowdy cheer was sparked by a new song, with Dylan making a resonant and gravel-voiced proclamation of the title to “I Contain Multitudes.” The song’s braggadocio was paradoxically presented in the set’s most pastoral arrangement. During one inviting passage led by Donnie Herron’s lilting pedal steel guitar, Dylan rebuked an antagonist. “You greedy old wolf, I’ll show you my heart,” he sang with menace. “But not all of it, only the hateful part.” “Key West,” by comparison, was amiable and wistful.
Bathed in dim red light, the cinematic lyric to “My Own Version of You” cast Dylan as Doctor Frankenstein while the band spun an eerie soundtrack; Dylan and Locio traded lines between piano and guitar. The understated but potent “Black Rider” was similarly haunted with an arid twang, underscored by longtime sideman Tony Garnier’s bowed double bass.
After concluding the main set with the loping roadhouse blues “Goodbye Jimmy Reed,” Dylan made his lone address to the audience. “We’re happy to play here,” he said. “We love Chicago, just like you do.”
Irascible at any age, Dylan at 80 didn’t treat the evening in stately surroundings like a museum exhibit. He said precious little. He simply walked onstage and began playing songs, introducing new ones and subverting his classics. That still-invigorated approach drew his most ardent fans back to a crowded concert hall. That act and those songs spoke volumes.
Curtis Schieber who is described as Special to The Columbus Dispatch. I’m sure he is very special to them! |He has also has a very ‘special’ and successful music show, the Invisible Hits Hour, for 30 years.
Anyway, Curtis has also made a ‘special’ point in his review: The underfloor lighting Dylan is using on the Rough and Rowdy Ways tour serves to light up the band and Bob in an equal, almost democratic, way.
And, as Curtis says, it helps the focus of the concert to be on the songs … which is a good thing as a large part of the concert is made up of the songs from RaRW, perhaps one of Bob’s most perfect albums.
But is the lighting also being used to take attention away from Bob himself who, at 80, can look a bit creaky as he makes his trademark stately bows and bends?
Anyway, we are all agreed that Bob can still bend them notes and ring them bells as he sings better than he has done for decades.
#cincinnati #milwaukee #chicago #bloomington #bobdylan #neverendingtour #reviews #roughandrowdyways #chicago #hershey #moontownship
The sweet sound of Bob singing just for us in Hershey
When you’ve laughed at your audience like a hyena, screamed at them like a banshee, snarled like a rabid dog, howled like a wolf, wept like a guitar and crooned like the moon there has to be a time when you take stock.
A reflection, an old face in the Island Lake, dreams of iron and steel gone by in a ripple. The guru is the grandpa in a too-big embroidered suit, light shining through his harum-scarum hair. He’s not walking too good.
But he looks proud and like this review says he is singing just for you.
Andy Saylor writes:
“The thing I want to convey is that he sang I’ve Made Up My Mind to Give Myself to You to the audience. He leaned up over the piano, holding the edge of it, the edge closest to the audience, as he sang it. He was singing it to us. I thought maybe I was imagining things but afterwards my wife said she had the same experience before I told her that had been mine. Melancholy Mood, which I thought I’d have to tolerate, was delightful. There was a significant segment of the sold-out crowd who were very enthusiastic for the new songs and that was delightful too.”
Futzi Wailer writes:
“The stage is amazing as the floor lights up when the band takes the stage illuminating them In an eerie glow. The curtains behind the stage were a crimson red, especially effective during Black Rider and My Own Version Of You. Sound was near perfect though we thought Bob Britt’s guitar was a bit loud and the drums often inaudible. Bob’s vocals were crystal clear. The Rough & Rowdy Ways songs were the highlights, the older songs less so. The new arrangements were to my ears inferior to the recorded versions or even previous live incarnations with the exception of Every Grain Of Sand. I never liked the song live but this time Bob got it right”
David Mendick writes:
“Truly a miracle. Bob Dylan back on stage. I secretly selfishly imagined he may never play live again. I would have the last ever review of the last ever show at the Anthem in Washington DC. Yes. Check it out. That was me. Thank god he’s back and I joined the tour at the most gorgeous theater you could wish for. And yes it’s true that at age 80 Dylan’s live show is better than ever. Of course he should play so many songs from the new album. Music is meant to be heard live and this album sounds better live. Melancholy Mood was pure Sinatra. And I saw Sinatra. Dylan had the audience spellbound. I can’t wait to rejoin the tour in Philadelphia and once again end in DC. It was fun catching up with some old Bob fans beforehand - Howie and Eric and Ava in a crazy onesie.”
Reviews rocket as Ol’ Bob lands on Moon Township…
Daniel Chester writes:
Watching: a rollicking tribute to Pittsburgh and its rivers Most Likely: good energy and crisp and friendly and faithful and pretty well-delivered Multitudes: great feel/sound for a great song and sung well...how amazing is it that this same guy wrote Song to Woody 60 years ago and is still on the road heading for another joint False Prophet: dull approaching OK (bluezzzzzzz) Masterpiece: wonderful (violin and piano and acoustic guitar interwoven), lucky to hear this again Black Rider: nice atmosphere but nothing special...would rather hear something off of New Morning or Infidels I'll Be Your Baby: completely different version, had a nice little drive to it (as opposed to the leisure pace of original) My Own Version: another cool atmosphere and some very cool lines sung well...maybe a performance where a tight little guitar solo would have elevated it To Be Alone: the acoustic guitar and violin and standup bass make a potent combination...fun choice Early Roman: pretty much a slog lacking necessary stomp...not a huge fan of this tune but not sure any tune could have survived this treatment Key West: piano picked some nice notes and accordian worked and some swell lyrics ('if you lost your mind you'll find it there') Serve Somebody: almost a different tune yet it grabbed the attention, particularly with the new lyrics, and made its own way and was quite enjoyable I've Made Up My Mind: well-conceived and delivered and completely fit the evening with certain lines grabbing the attention again Melancholy: short and sweet (and sad) and totally fit this show Mother of Muses: tender and well-wrought and sung well...piano and guitar on the breaks were nice together...didn't really know this one yet really, really good...'I've already outlived my life by far'...could have closed with this one Jimmy Reed: not bad...way better choices for this valuable slot Every Grain: one of his all-timers and perfect choice to send people home with...blessed to hear again
Laurette Maillet is back:
The venue is a stadium, maybe 5000 seats. I've been here few years ago. I don't like stadium anymore. I prefer the cosy atmosphere of the theater. I believe Bob will start late as it takes time for the audience to fill up the venue. But... He is right on time. Dressed in black. “Watching the river flow” is a bit confused at the start. The Musiciens are not in tune! Bob, as usual, is moving from the center mike to the piano, most often at the piano, except for “I contain multitudes” where he is bending on his knees... “When I paint my masterpiece” is a wonder! I feel like dancing Bob seems to be happy to be here. I am too far to see if he is smiling but I can believe he did. Again 'Mother of muses' is not my cup of tea but I close my eyes and focus on Bob's voice and it does the trick. I feel transported in another universe with Bob Dylan 'chantin' to me. Great show.
Mitchell writes:
“I’ve never written a review of a Dylan concert, but I felt moved to write one for yesterday’s concert in Moon Township PA. I feel that the reworking of the set list was more than just publicity for the new album. It is contemplative and other worldly. And like it or not, I do feel he is trying to bring a message with the two gospel songs he brought back. The band is still tying to find their cues from Bob. They did a great job- I’m not a musician, but I’m sure it can’t be easy playing with Bob. And the crowd was great- very appreciative but also very respectful of the man and the music. I don’t know why he continues to do show after show when it is so difficult physically. Maybe it is part of a “deal” he made many years ago as he once said. Maybe he wants to teach us as long as he can. Maybe the sheer joy of playing. Who knows.”
This compendium is for those who can’t get to see Bob live at the moment
Reviews rocket as Ol’ Bob lands on Moon Township…but is age beginning to tell?
The first review to mention Dylan and the rigours of age…
Mitchell writes:
I feel that the reworking of the set list was more than just publicity for the new album. All of the song selections were clearly pointing to the past (high points and regrets) and looking to the future-a future not in this world. It is contemplative and other worldly. And like it or not, I do feel he is trying to bring a message with the two gospel songs he brought back. As to individual songs, “Mother of Muses” is even more hymn-like than on the album. Clearly a prayer and an offer of thanks. Sent chills up my spine. The thing that made me sad about the show was the clear physical pain Bob is in. He is clearly still very sharp mentally, he was great with the lyrics, his voice was fantastic and he looked to be enjoying himself. But, in contrast to his standing center stage pre COVID, he just couldn’t do it now. He had to hold onto the piano and even then, retreated behind the piano mid most songs. He sat down behind the piano a lot. He doesn’t stand straight. He got help going down the steps from the back of the stage. Clearly his back/hips are hurting. I think we have to face it- as much as he has, does and always will mean to us, his body is that of an 80 year old man. I don’t know why he continues to do show after show when it is so difficult physically. Maybe it is part of a “deal” he made many years ago as he once said.
Daniel Chester writes:
Watching: a rollicking tribute to Pittsburgh and its rivers Most Likely: good energy and crisp and friendly and faithful and pretty well-delivered Multitudes: great feel/sound for a great song and sung well...how amazing is it that this same guy wrote Song to Woody 60 years ago and is still on the road heading for another joint False Prophet: dull approaching OK (bluezzzzzzz) Masterpiece: wonderful (violin and piano and acoustic guitar interwoven), lucky to hear this again Black Rider: nice atmosphere but nothing special...would rather hear something off of New Morning or Infidels I'll Be Your Baby: completely different version, had a nice little drive to it (as opposed to the leisure pace of original) My Own Version: another cool atmosphere and some very cool lines sung well...maybe a performance where a tight little guitar solo would have elevated it To Be Alone: the acoustic guitar and violin and standup bass make a potent combination...fun choice Early Roman: pretty much a slog lacking necessary stomp...not a huge fan of this tune but not sure any tune could have survived this treatment Key West: piano picked some nice notes and accordian worked and some swell lyrics ('if you lost your mind you'll find it there') Serve Somebody: almost a different tune yet it grabbed the attention, particularly with the new lyrics, and made its own way and was quite enjoyable I've Made Up My Mind: well-conceived and delivered and completely fit the evening with certain lines grabbing the attention again Melancholy: short and sweet (and sad) and totally fit this show Mother of Muses: tender and well-wrought and sung well...piano and guitar on the breaks were nice together...didn't really know this one yet really, really good...'I've already outlived my life by far'...could have closed with this one Jimmy Reed: not bad...way better choices for this valuable slot Every Grain: one of his all-timers and perfect choice to send people home with...blessed to hear again
Laurette Maillet is back:
The venue is a stadium, maybe 5000 seats. I've been here few years ago. I don't like stadium anymore. I prefer the cosy atmosphere of the theater. I believe Bob will start late as it takes time for the audience to fill up the venue. But... He is right on time. Dressed in black. “Watching the river flow” is a bit confused at the start. The Musiciens are not in tune! Bob, as usual, is moving from the center mike to the piano, most often at the piano, except for “I contain multitudes” where he is bending on his knees... “When I paint my masterpiece” is a wonder! I feel like dancing Bob seems to be happy to be here. I am too far to see if he is smiling but I can believe he did. Again 'Mother of muses' is not my cup of tea but I close my eyes and focus on Bob's voice and it does the trick. I feel transported in another universe with Bob Dylan 'chantin' to me. Great show.
Laurette muses over Bob’s ‘mother’
of a show in the city of Muhammed Ali
Bob hit the home of Muhammed Ali and fried chicken – and while reviews had been thin on the ground from his performance in Johnnie’s Knoxville, Laurette Maillet made a circuitous and frustrating journey – caused mainly by Greyhound bus delays – to end up in Louisville for his November 11 show.
Laurette, on her journey around Dylan’s shows, writes in Bob Links:
“The theater is gorgeous, a museum in itself. Bob Dylan decides - after 15 minutes and so pass show time - to appear all in black. Immediately the public are up and will stay up until the 7th or 8th song. Good for me. My seat is on the isle and I can...dance! Bob is picking up on the good vibes and delivers a remarkable show. I will not pick a highlight as ALL the songs were perfectly executed. At least I enjoyed all of them.Just, for me, a minus on "Mother of muses". There is something in that song I quite can't connect with! A sort of borring prayer? But nothing to complain about the perfect diction. Bob cracks a joke I don't get and presents the Band.The entire theater is on its feet for the final. Bob spends, it seems, few more seconds facing the crowd before disappearing. Excellent communication tonight on both sides.Louisville is a great city!”
Knacksville in Knoxsville! Well, who said ol’ Bob doesn’t talk to his audience … he’s got the knack!
And now he can out rock the mountains and out croon the moon
It looks like the reviewers are having a bit of a rest, which is sad really. It’s been fab keeping up with Bob’s shows, his performances, what he’s wearing, how he’s singing and what songs he has been choosing.
More than anything though it’s been good to read the authentic voices of real concert goers saying what they think.
And the one thing that comes across is that Bob Dylan at 80 is still one of the best and most transcendent acts in the world today… he’s not a dinosaur, not an old crock living off past successes. And he’s not churning out geriatric songs to satisfy his own ego and the nostalgia of a bunch of middle-aged, middle-class, middle-income grandmas and grandpas who still want to be thought of as sageness hippies!
Nope, the voice of so many generations is managing to stay forever young and has remained the alchemist of vocals, stage presence and performance. Fifteen years ago he was croaking like a battered old frog and not even I knew exactly what he was trying to achieve – although I respected him enough to assume he was trying to achieve something.
And what was up-singing all about? And that clunky flat piano? It was like listening to Victor Borge in a drunken church choir.
Now he can out rock the mountains and out croon the moon.
So, until the reviews start rolling in again we’d like to leave you with a short vid from Knoxville where Bob has a chat with the audience and introduces his new and very able band… I’m sure Painted Passport won’t mind us sharing it although his camera-pointing could do with a bit of polishing!
Bob Dylan in Knoxville (Nov. 10, 2021) – “Don’t forget to go to Dollywood” – YouTube
And an audio vid of Bob performing Every Grain of Sand at Bloomington a few days ago.
Bob Dylan – Every Grain Of Sand (Bloomington 2021) – YouTube
Below are a few thoughts about Bob and his Rough and Rowdy Ways tour and the many reviews we’ve picked up along the way… have a scroll through, meander, have a listen, spend some time with some ordinary people who, like me, just want to take in the artistic genius of an extraordinary man.
As soon as the reviews start appearing again, we’ll start sharing them! In the meantime send us your thoughts, reviews etc.
Anyway, have you ever been to Milwaukee?
Have you ever been to Cleveland?
Have you ever been to Chicago, Cincinnati or Bloomington?
Well, you can go there (below) – when you want to go…
Cheers Leigh
More thoughts and insights into Bob on his almost-never ending tour – and this time, what does Dylan wear boys, what does Dylan wear?
Ol’ Bob has had some sartorial disasters over the years – his almost Elvis-style suits in the late 70s should have been made street-illegal.
In the 60s though he was a style icon with his Cubans, shades and polka dot shirts. And in the 70s he was the hippest of hippies and for the first time donned his now trade-mark Fedora with aplomb. He apparently bought it for a couple of dollars from a thrift shop.
In the 60s he went for the working man’s dirt road look, in the 70s waistcoat and leather jackets, in the 1980s he was more often than not suited and booted, sometimes animal print shirts, in the 90s cowboy-cut waist jackets and latterly the river boat captain and gambler in many guises.
At the beginning of the Rough and Rowdy Ways tour, some say he made a mistake by wearing his big creamy David Byrne-style jacket. It just makes him look on the portly side, particularly in poor quality bootleg recordings. Dare I say it looks like a very big covid mask!
Anyway, now Bob has gone back to black and some of the reviews from the Cincinnati show have taken this into consideration… see what you think and share your comments.
Cincinnati reviews etc below this preamble:
REVIEWING THE REVIEWS:
We are still reviewing the reviews as Dylan, at 80, gets ‘rough and rowdy’ on the road … but we are still mystified as to why so few appearing in the traditional media.
Its like local journalists and editors are treating Dylan’s new tour as a bit of a clod-hopping dinosaur outing or a day out from the rest home of elderly rockers!
But Ol’ Bob is once again working his magic across the world, singing – most say – better than ever, entertaining, chatting, inventing, stylising, reworking and setting new standards for himself and his audiences.
Confounding and wrecking expectations…
Here are some of the first audience recordings we’ve seen and heard that have survived the robots of internet control.
The first one is It Takes a Lot to Laugh – from Chicago and Every Grain from Cleveland… keep reading and scrolling, there are quite a few reviews now from each venue.
Should we used the videos?
Well, there is a dichotomy of attitude towards copyright and sharing on the internet in 2021 … the spiders might as well be from Mars and the robots wield a sword of control as draconian as Damocles.
It could be Bob’s people of course throwing a cloak over the stolen moments of his concerts – and quite right they should too.
But bootlegging has been a major part of Ol’ Bob’s career, it gave him an underground reputation, made people hungry for his work and helped us feel that we were part of something special.
And we were – we were a part of the confusing, passionate world of imagery, angst and fabulousness that Bob had created.
We felt closer to him because we’d become the elite, the fans who got the latest from his world first.
So, from being stuck inside a mobile with the Chicago blues again, we’re sharing this video.
Below are a selection of the first reviews as Bob Dylan hits the road again on his Never Ending Tour … if you’ve managed to see him over the last week or so, share your thoughts here.
Cincinnati November 9, 2021
Laurette Maillet writes:
I have a vivid memory of that show. Not the best ever for me. But I, somehow by impulse, gave a sweet kiss to Barron (Bob's bodyguard) who had always been kind to me. Fans , they don't pay too much attention to the 'entourage', or never heard about the name of Bob Dylan's bodyguard, and his devoted career of 30 years. Nothing I knew, then, about what would be a world disaster. And that “Times would be changed forever”. The virus pushed people inside their home and inside their mind, aging before time. I aged! So, let's start a'new. Cincinnati , here I am. All dressed in Black; musiciens and Bob. Bobby wears regularly now a black pants with whites stripes on the side (adjusted with a blak/white belt). A black shirt (with or without embroidery) a white or black jacket with embroidery. His shoes are no longer the cowboy many years boots but flat black or white 'boat' shoes? Bobby looks like a ghost. No kidding! As for Bob? Only the piano was his instrument. No guitar, no harmonica :( He rapidly disappeared after “Every grain of sand”. Escaping the final crowd photos from the past when he and his Band used to bow. Smart!
E.B writes:
The Bob Dylan Concert poster proclaims “Rough and Rowdy Ways” but for the standing ovations our crowd at the Aronoff Center in Cincinnati were not rowdy. Yes, it is still Pandemic O’Clock in the Queen City (and the home of the old King Records as Bob so well noted in his brief remarks later in the evening) Bob performed standing up behind his upright piano to the right of the stage surrounded by his band. Sometimes Bob retreated to the safety of the piano after coming center stage to sing every now and again - doing some impressively deep sideways knee bends and dance moves and proving his bell still rings - but what stood out for me this night was his impressive vocal performance, strong and commanding and telling tales warningly, emphatically and enigmatically but oh so compellingly. As the old poster used to proclaim: “In Show and Concert…. Don’t You Dare Miss it!”) *****
Tom Burke writes:
Bob Dylan brought his "Rough and Rowdy Ways'' tour to Cincinnati on Tuesday night. The promotional poster proclaims, "things aren't what they were", but thankfully, somethings never change, as Dylan and his band provided a great night of music and entertainment. The band wore black, as did Dylan, though his outfit was embellished with subtle white embroidery. The stage was framed with black side and back curtains with the band set up in a compact arrangement with Dylan slightly stage right at the piano. The setting and effect may have been austere, but the music was more often true to the tour's rough and rowdy ways moniker. The show kicked off with a rollicking, high energy, Watching the River Flow, which was followed by a driving jaunty Most Likely You Go Your Way (and I'll Go Mine) both songs featuring Bob at the piano playing with great spirit and vigor. Several of the songs from Rough and Rowdy Ways, including, I Contain Multitudes, False Prophet, Black Rider, Key West, I've Made up My Mind to Give Myself to You, and Goodbye Jimmy Reed were delivered with Dylan starting at center stage using a hand held mic and mid song returning to the piano for the finish. All of those selections, though sounding great on the record, performed live were imbued with much greater depth, effect and resonance, thanks to Dylan's facial expressions, body language, and unparalleled vocal stylings. The show closed with Dylan performing the beautiful , Every Grain of Sand.
Bloomington, Indiana, November 7, 2021
Luke M. Jacobus writes on Bill Pagel’s Bob Links:
“This was probably my ninth show in a 25 year period. The stage had a raised platform that was floor for the band. Think of a giant light box. The arrangement of musicians was closer together than I’ve seen in the past.
The show started at about 8:03pm and what followed was one of the most interactive Bob Dylan concerts I've seen. He came out strong and seemed very energized. A slight stoop I noticed two years ago was all but gone. He seemed proud to stand straight and tall, even striking a number of Elvis-like poses and making moves evocative of the King. At one point he ran quickly backwards about half the width of the stage, a stunt people half his age would think twice about. Any rumors of his demise are grossly exaggerated. I counted four times between songs that he took time to thank the audience and sometimes made other comments. I think it was after To Be Alone With You, he heartily thanked us and said he about forgot the words to that one. It struck me as a genuine confession. The performances were amazing. Words were clear and strong (except at the start of a few verses). The sound mix and overall volume in the auditorium was excellent, nearly ideal. Great, great care was given to the execution of these songs, with extreme vocal control demonstrated. His piano work mostly filled in gaps, sometimes quite effectively with only a single note played at important junctures. Other times, some deft playing was high in the mix. He played harmonica just a few times. The vocals were front and center, which gave clear access to some deeply emotional performances. Most of the show, Bob Dylan was a shadow. You could not make out his face. However, with I've Made Up My Mind To Give Myself To You, this changed. With this song, his face was illuminated, and it remained so, or at least visible, during all the songs that followed.”
John Haas writes:
“Bob Dylan's still on the road. Still heading to another joint. And then another. And eventually, one near you. Amazing, isn't it?
And what a strange set-list it is! The older songs are known to Bobists of
course--all the songs are known to Bobists--but they aren't his huge hits,
by any means. One only released as a single. One from the gospel period
(but yeah, he won a Grammy for it). A couple country romps from '67 and
'69, one of those entirely--and I mean entirely!--rewritten (and each
"deep cuts" from their albums). A song from Tempest, but none from TOOM,
L&T, the Oscar winner of yore, and nothing from H61R, FWBD, or most of his
back catalog in fact. All of which is so, so great, I could hug him.
It was all good. All of it. Bob's piano playing is outstanding at times,
especially False Prophet. His singing kills it, as everyone says. Could
hear every word. The songs I was expecting to just endure from R&RW
shined. Those I expected to love--Key West, eg--I loved (thanks, Donnie,
for that accordion). All the playing was stellar.
Great concert. Moody, intricate, precise, beautiful.”
CLEVELAND, OHIO, Nov 3, 2021
Timothy Burns wrote: “The under the floor lighting was good, Bob and the band were better lit than the overly dark former time in Cleveland, especially in 2017. “If you saw Shadow Kingdom the sound and feel was quite like that obviously with the choices of the non-Rough and Rowdy Ways songs and the approach to the songs. I was completely fine with that, it was great. What I did not expect was that I completely enjoyed the new songs more than almost any of the other songs. Even though When I Paint My Masterpiece was quite amazing. Dressed in all black, Bob would go back and forth at times singing with a separate microphone in hand, then setting it down on the upright piano (with a slight clunk which was awesome) My main takeaway was two-fold. Firstly, the band and the arrangements, while similar at times to Shadow Kingdom, it allowed Bob himself to be the most central at every moment for every song. I do not ever recall where I left at the end with the feeling that this concert was 100% about Bob and not somewhat about how great the band was. The second main takeaway was perhaps the best. I did not come in with expectations of "How good are his vocals going to be?" Although I did wonder if he would sound similar to Shadow Kingdom in which he sounded absolutely amazing. Partway through song #1 (watching the river flow) I detected (or I think I did) a noticeable change in the audio mix where they brought Bob's voice up and just be above everything else. The rest of the concert had his voice amazingly loud and so clear. I cannot believe how good he sounded.”
Billy Cardina:
Awesome show! Great sound and “Every Grain of Sand” a first for this tour was amazing. Crowd was subdued and this was Bob’s first Ohio Show since he played beautiful Akron in November 2019. Old songs integrated well with Rough and a Rowdy Ways. LOVED Key West God Bless Bob!
Preamble – followed by Milwaukee and Chicago reviews:
Bob Dylan stepped back onto the stage after two years of ‘incarceration’ and gave a Cheshire Cat-grinning, ear churning, heartbreakingly beautiful two hour performance down at the Riverside in Milwaukee…
Andrea and I were still on the road highway in Spain as O’ Bob took to the stage. It was 10am where we were in the blustery Autumn heat and 8pm in a Milwaukee chill as he walked out to meet his audience again.
He was dodging wires and speakers and posing hand on hip in his oversize David Byrne-style white jacket like a good’n.
Yep, he’s 80 and sometimes he can look doddery and as fragile as his famous wet-fish handshake … but he’s still going, still creating, still confounding, still writing, still rocking and still finding new ways to be Bob Dylan.
And this time he is the poet of Rough and Rowdy Ways.
And then there is of course his new voice. It’s new but it’s been everywhere, told a million stories and hung out so many brilliant lines to dry.
No, nobody can ever take that away from him … and in Milwaukee he made his voice famous again.
Next he joined the other legends in Chicago …
After we unpacked our dusty old car at the castle in Lorca where we were staying, I trawled around the net for reviews.
I didn’t find one dissenting voice… just fans who confirmed that Bob is back – looking a little bit older it has to be said – but performing brilliantly, singing like a dream and rocking the world’s expectations.
Let’s begin with Chicago as he finds his feet
On Bill Pagel’s Bob Links, Adam Selzer wrote:
CHICAGO: “I’m amazed at how clear his vocals are; all traces of the wolfman growl of a few years back are gone, except when he needs them. “I Contain Multitudes” was the highlight of the night for me. Instead of spending most of it at the piano, consulting the lyric sheets, Bob was center stage the whole song, clearly enjoying himself and really acting the song out, prowling around at a crouch like a cartoon character. “When I Paint My Masterpiece,” the first surprise of the night, was bouncy and loose. “Bob tried to do “Black Rider” from center as well, but forgot a couple of lines in the first verse and moved back to piano for most of it. The flub seemed to cost him some confidence, though the rest of the lines were well delivered. This show really does sleep with life and death in the same bed.” Mark S wrote: “I saw Bob Dylan in 2021 and it was like seeing your grandpa, who you love very much, walking a tight rope. It was captivating, I was rooting for him, and it was extremely entertaining to see him succeed.!
Bob Shiel:
“Bob Dylan came to Chicago tonight, perfectly timing his customary week-within-Halloween appearance in the Windy City, historically one of his most visited venues in his illustrious career as a live performer. But this wasn't any ole Bob Dylan show. This tour is all about Rough and Rowdy Ways. Although all these songs sound good live, I Contain Multitudes and Key West stand out as stellar melodic arrangements with mesmerizing lyrics, which Bob is delivering quite intelligibly. I saw no evidence of the lyric or sheet music reliance reported in Milwaukee on night 1 of the tour. The overall sound of the band is similar to that fantastic Fall 2019 tour, and new drummer Charlie Drayton almost imperceptibly follows Bob and the rest of the band, allowing Bob, at 80, to not have to strain to be heard over the other 5 members of the band. The magic of Bob's veteran multi-instrumentalist Donnie Herron was evident on When I Paint My Masterpiece when his fiddle played off Bob's piano beautifully. Bob Britt is back. As for the new guitarist, Doug Flavio, who is technically filling the legendary shoes of Charlie Sexton, although that ain't happening, one gets the feeling he will play a more and more prominent role as his first tour progresses. After introducing the band, something he hasn't done for what seems like forever, Bob said something like, "We love Chicago, just like you do." Well, the feeling goes for you, too, Bob. We really do love you and wish you all health and happiness in this world so lucky to still have you in its midst.”
FROM MILWAUKEE:
Isabel Infantes said: “There’s no doubt that Tuesday show at Milwaukee’s Riverside Theater was the start of something very new, very different, and very bold.”
Tom Wilmeth, on the same site, said: “Nobody seemed happier about thingsthan Bob himself, with facial expressions that were frequently joyous. Dylan was in good voice, and the sound mix was excellent – both Dylan’s lyrics and his piano were
clearly heard. “The night began with “Watching the River Flow,” a minor radio hit in 1971. Maybe Bob was using this number to tell us what he had been doing during his time off – nothing. “Most Likely You Go Your Way and I’ll Go Mine” followed. . “Bob interspersed tunes recognizable to even casual fans. He played “Simple Twist of Fate” and “I’ll Be Your Baby Tonight,” as well as a rocking version of “Gotta Serve Somebody.” Dylan touched on his later catalog with “Early Roman Kings” and “Soon After Midnight,” “When Bob made his way from piano to center stage – he looked fragile, and at times unsteady on his feet butwe still have Bob with us; let’s enjoy him today. We may not see him tomorrow” Don Romundson wrote: “The show at the Riverside was unbelievable. It was clear from the start that this was going to be a very special show. In fact, Bob did a sort of a bow to the crowd, in Bob's own way, after each song, an acknowledgment if you will, his stand at center stage gazing out, very appreciative of the crowd...”
Adam Selzer had this to say: “Bob seemed a bit nervous as he began “I Contain Multitudes”. I don’t know that I’ve ever seen him look nervous before. But the performance was solid, and on “False Prophet” he was grinning, pointing, and seeming as though he was having a blast. Like he couldn’t wait for us to hear what line he’d sing next.”
Me, well I’m just glad to say that we’ve not seen the last of Bob’s winks and feints and his stunning panache. And the old man is back again, taking all the indefinable qualities that make him the true genius of this and the last century around the world again.
Good on ya Bob!
Bob’s band line-up is now –guitarists Doug Lancio and Bob Britt, multi-instrumentalist Donnie Herron, bassist Tony Garnier, and drummer Charley Drayton.
One of the few traditional media reviews:
Well, we found one … by Curtis Schieber who is described as Special to The Columbus Dispatch. I’m sure he is very special to them! |He has also has a very ‘special’ and successful music show, the Invisible Hits Hour, for 30 years.
Anyway, Curtis has also made a ‘special’ point in his review: The underfloor lighting Dylan is using on the Rough and Rowdy Ways tour serves to light up the band and Bob in an equal, almost democratic, way.
And, as Curtis says, it helps the focus of the concert to be on the songs … which is a good thing as a large part of the concert is made up of the songs from RaRW, perhaps one of Bob’s most perfect albums.
But is the lighting also being used to take attention away from Bob himself who, at 80, can look a bit creaky as he makes his trademark stately bows and bends?
Anyway, we are all agreed that Bob can still bend them notes and ring them bells as he sings better than he has done for decades.
What do you think?
Curtis wrote in the Columbus Dispatch:“Rough and Rowdy Ways” was clearly the focus of the set. An album containing all the mystery, in-jokes, casually cast-off name checks, and philosophical dead ends of Dylan’s best, it provided perfect fodder for the aging, Nobel Prize-winning author to have his way with both a lot of confessions and some pretty tall tales. In a deftly controlled mix of croon, croak and declaration, he brought them all to life. The band created a loose combination of blues, swing, and rock ‘n’ roll that nonetheless was always on point.
There were no spotlights focused on the stage last night. The six musicians were lit — equally — from the floor. It was clear that Dylan intended the songs to take center stage and that they did.”
The Dispatch is a daily newspaper in, yep, you guessed it, Columbus, Ohio. Its first issue was published on July 1, 1871 and it is still going strong and publishing the stories and reviews that matter. Curtis is a freelance journalist.
But, as far as we at The Society have seen, Dispatch is only the third daily to bother to take a look at the ‘new’ Bob Dylan.
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