Bob Dylan Tour U.S.A. Spring 2015

PART EIGHTEEN
Bob Dylan Tour Spring 2015 U.S.A.

That Bob Dylan Tour will start in Atlantic city New Jersey on the 10^th of  April.

For few years now I am part of an association called WWOOF : World Wide Opportunities On Organic Farms.

The idea is to work 5 or 6 hours a day on  an organic farm in exchange for a place to stay and food. It is hard physical work but I like it.

So I decide to spend few weeks in Florida and volunteer on a farm before the beginning of the Tour.

I pick up a farm close to Fort Lauderdale owned by a couple originally from Israel.

They mainly raised chicken for eggs and meat, some ducks and some goats for milk and cheese.

The accommodations are exceptional : I have my personal R.V. with a little kitchen and a fridge on a field that is part of the farm.

The work is easy. In the morning by 7:30 a.m. I feed few hundreds of chickens and then the ducks and goats. At 11 a.m. I am free. The only problem is that there is no WIFI on the farm, I have to cycle to the closest ‘Dunkin Donuts’ every morning. But the weather is usually warm and dry. In the early evening, I feed the same animals again until 7 p.m. Then I am free.

When I arrive Maxime (a French young man) is here. We get along  and share a lot.

But we don’t share so much with the family. I feel that we are just ‘workers’ which is not the WWOOF spirit. Maxime will leave and the new volunteer is not in the WWOOF spirit neither. I don’t feel comfortable even if the material situation is alright.

A BD Fan and friend ask me if I could join her in her home in Indiana. So, this is an opportunity to move on. I fly to Fort Wayne and spent the last 2 weeks there, having a good time with Bob Dylan ,Elvis Presley and other great performers on movies.

I

April 9^th 2015. To Atlantic City.

For 2 years now I have been using the association CouchSurfing as a way to find accommodation where ever city I go to.

It is a way to have a free bed but also a way to meet great persons who will open their home for travelers. A way to be part of a global world in solidarity and not just a global merchandise/business world. Where there is no money, there is solidarity.

So, before leaving France I requested CS (Couchsurfing) hosts until the city of Clearwater, as I am not sure yet how far I will be going on, on that Tour.

In Atlantic City, Thomas answered favorably to my request. He will pick me up at the Geyhound bus station on the 9^th. I travel Greyhound or any low coast bus companies or Amtrak.

I have my own bedroom and Thomas offers me some food. I relax until the next afternoon.

I decide to walk the Boardwalk to the downtown area where I will meet with a Bob Dylan Fan from India who contacted me.

We spent some time sharing before heading to the venue. I’m all exited for this is the first show on that Tour. I haven’t seen Bob for few weeks. And of course every one expects a changing in the setlist.

This is a Casino and not my favorite spot.

I get a free ticket from … D. Well! He’s here, so is M. I feel uncomfortable. We’re not supposed to talk to each other anymore. So why does he give me a free ticket?

It makes me confused again. Now he looks skinny and unkept (not shaven). His skin has a strange color.

The show is great. The setlist didn’t change and will not until the end of that Tour (I believe).

I ask D. to give me a ride after the show. He will declined. He’s traveling with M. I don’t exist anymore. He’s finally like all the rest ; stuck in a ‘couple’ relationship. I feel jealousy and fear.

I call Thomas who is nice enough to pick me up after the show.

I have a good night and a good shower before taking the bus to Baltimore.

II

11^th of April BALTIMORE.

From the Greyhound bus station I call Kimberley.

Kimberley is a Bob Dylan Fan who belongs to the Bob Dylan Fanclub.

She drives me to her home then to a light dinner with 2 others BD fans.

I find rapidly a free ticket. I spot D. with M. My heart beats fast but I focus on the stage.

Too late. The magic will not operate.

Kimberley, John and I drive to their home. I have a dreamless night (meaning that my dreams are not strong enough for me to remember and be of any premonition).

III

12^th April RICHMOND.

Kimberley drives me to the Greyhound bus station. I found out to my distress that ALL the ticket to Richmond for today are sold out. SOLD OUT? Whoa!

Kimberley left and I start to panic. I check on Internet for an Amtrak train, no way!

I suddenly remember that Sue is traveling this way by car and thought of asking her a ride (if she didn’t leave yet).

She answers positively and comes to the station to pick me up. She saved that part of the Tour for me. I would have been missing the show.

We have a nice ride. She even drops me to my CS Host. Alexander was so nice as to leave the key of the house outside for me. Thanks. Sean, a roommate is exited about my adventure and finds me a free ticket on Internet. I invite him to come to the show with me. I find him a free ticket and we are both inside. At the intermission I find myself an empty seat first row, right in front of Stu. This is Magic! No one in front of me, and I don’t care about the ones behind.

After the show we go to a pub with a group of Fans.

D. and M. are there. I finally manage to talk to D. This is an uncomfortable discussion.

In fact nothing is said , nothing is done. He’s an opportunist , moving on in his life. I’m a thorn in his life.

I drink a beer that gives me a light head and talk to Sean as we walk back home.

I crash on my Futon at 2 a.m. in the morning.

IV

13^th of April SAVANNAH.

I decide to make it to Savannah, after all.

I catch a night Greyhound bus and reach Savannah in the morning.

I have no plan for accommodation.

I spend a great deal of time at the Starbuck’s Café , connecting to WIFI, trying to find a CS Host…in vain.

I contact Tim (a BD follower) who will accept to put my bags in his room the time of the show.

I go to his motel at 6 p.m.

Tim is all exited : he found 2 first row tickets on Internet for 47 $ each. He will give one to me; thank you Tim.

We are seated next to each other and we have a good time. I focus on the stage. D. and M. are far from my mind.

Unfortunately I have to spend the night at the Greyhound station until 7 a.m. but it is not too bad.

I will skip the Montgomery show as it’s impossible to reach by bus and back to North Charleston on the East coast.

V

14^th of April NORTH CHARLESTON.

Courtney is my CS host.

She will pick me up at the Greyhound station and install me in a private bedroom.

I will spend 3 days at her home ; resting, cooking, watching movies and going to the one show.

D. and M. left the Tour. I’m somehow relieved. I also think D. is following the Tour just because he has a companion with him. He’s not a BOBCAT, an unconditional Bob Dylan Fan. He’s just an adventurer. M. might be more unconditional.

I get a free ticket almost right away. The venue is weird : the seat rows are semi-circular with no alleys in between. I feel squeezed in the middle of a row. The sound is ‘metallic’ and Bob’s voice is weak. Tired Bobby?

I call Courtney for a ride back.

I dream a sweet dream, clearly remembering the details which will become some reality.

VI

18^th of April ORLANDO.

I will skip the St Augustine show. It is impossible to reach by bus.

I arrive in Orlando after 16 hours on the bus, including 4 hours stop in Jacksonville where I tried to catch some sleep on a bench. I meet 2 Spanish guys and I try the use of my broken Spanish.

The Greyhound central bus station in Orlando is in the middle of nowhere. I don’t find any CS Host in Orlando. No plan B neither.

I decide to walk to the downtown area. One hour walk in the heat!

I’m exhausted and by a ‘simple twist of fate’ I find a Motel, downtown, close to the venue. I check in for 68$. It’s the first time I spend money for a room. I take a shower, change my clothes and walk to the venue.

I see only one person in front of the theater, he’s wearing a BD T.Shirt.

We’ve met before, queuing in some Bob Dylan lines at some general admission shows.

He invites me to join him for a ride. He’s Ro and lives in West Palm Beach. He will do the 3 next BD shows and he invites me to ride with him. Ok! It sounds good. We join with 2 other BD fans for  a light dinner before heading to the venue. Ro will buy me a ticket.

The venue is brand new, made of glass. The seats are small and made of Blue. All ‘tangled up in blue’.

The sound is great, a lot better than North Charleston.

I truly enjoy myself with a new companion. We spend a night in the motel room before heading to Ro’s house in West Palm Beach. Good time, precious time.

From now on I will be traveling with Ro. We’ll learn to know each other. And to learn about people , the road is a tough school.

VII

21^st of April Fort Lauderdale.

Ro drives Julia and myself to the venue. Julia is Ro’s friend and she wants to appear his girl-friend. Alright I understand the situation and step back.

I find a ticket and get in. That show will not stick in my mind. It will be just another one.

My new relationship is occupying my mind.

Ro drives us back to West Palm Beach.

VIII

22sd of April CLEARWATER.

Ro drives to Clearwater. We are suddenly involved in a car crash. A car is on fire. We are stuck for 2 hours and we must take a decision : waiting more or driving back and take another route. I am the co-pilot and Ro trusts me. We turn around , we drive through Orlando and reach Clearwater at 6 p.m. Just in time to go straight to the venue.

The show is SOLD OUT. Extremely difficult to find a ticket. Again Ro will buy one from a scalper. I’m in and happy.

The audience is warm, reacting with enthusiasm which is less and less the case.

Most of the publics are quiet and non-reactive. And of course ALWAYS seated.

Respectful? Maybe too much!

We spend only a short night at a CS host ; Christina. She will ask us to close the door in the morning (as she’s away to her job) and make sure the cat is in. Thank you for your trust.

IX

23^rd of April ATLANTA.

Ro agrees to go on with the Tour until Atlanta (for now). He doesn’t want to tell me until where he wants to travel with me. It makes me a little bit anxious. I decide to take it easy ; one day at a time.

I have a CS host ; Benno. He’s an interested character from Israel and  a linguist. We have a good time with him; cooking, talking, watching movies.

We visit a park in the afternoon and drive to the venue. By now Ro and I are lovers. Mostly a move on his part.

It is interesting for me to see that his attitude is the attitude I expect from a man.

He had accepted to travel with me, he had been paying a lot for me, he had been nice to me so…I know he wants sex. I don’t believe I am wrong thinking this way. I don’t believe it is wrong.

So…what’s wrong with D.? How come D. doesn’t react this way, a ‘normal’ way?

It reassures me to see that I am not NUTS. D. IS WEIRD. And unfortunately that will fill up my brain for so long, just to try to figure out who is D.

I am not in love with Ro so the situation with that sex affair disturbs me a little bit.

I feel that I use him and he is using me. It’s not a sane relationship.

X

24^th to 28^th of April NASHVILLE.

We will skip 2 shows, far off the road ; Durham and Greenville.

We are hosted by Steve  a bass guitar player, common in Nashville.

We sleep on the floor, like camping. We have the key of the door so we are free to come and go.

We spent a nice time in Nashville but with Ro the relationship starts to deteriorate. I want to see the Country Hall of Fame, he doesn’t. He will win that turn. I’m also supposed to eat when he wants and what he wants. I’m flexible but after a while I feel like either starving or being over fed. I start to see the real HIM at last. He probably feels the same about me. The only thing we have in common is …Bob Dylan. But even here I find Ro really narcissistic.

He wants to be first row for he’s sure that bob Dylan can see him and looks at him. I heard that so many times!  It starts to get on  my nerves and I see Ro as a little kid looking for a Father. Also Ro is constantly quoting Bob Dylan, even with people who are not Fans, like my CS Hosts. Ro is liking of empathy. He’s not smart, not fun, not even a good lover. Oops!

It will be just a question of time before we split. D. is still on my mind as an interesting character. Maybe because I don’t know all about him? Maybe because a part of him is still a mystery?

We spend time walking along Broadway street, the tourist street.

One evening we go to the Blue Bird Café to hear some new song writers at a open mike stage.

Most of them don’t even impress me. They seem full of themselves. No talent, no fun.

Another night we go to a CouchSurfing meeting. We meet with non-American people. I have a nice discussion with a young Rasta singer.  Ro is disturbing my relationship , as he doesn’t understand the spirituality of Rastafarianism. He’s heavy!

In Nashville, at the venue, before the show, I bump into Stu Kimbal. For fun I ask him if he has any extra Ticket! He says no! no! I say : I’m just kidding!

I see Randy but our relationship is sore. April is supposed to come at the show but I see only her husband , Chris. They had a raw. She won’t make it to the show.

I see M. taking her seat. D. should be near. They both joined the Tour again. They look like lovers, I know they are not. But who will believe they are traveling just as friends?

What bothers me the most is the ‘lie’, the pretentiousness, the appearance. I don’t understand. I try to block my mind.

Ro, again, buy me a ticket. I feel more and more uncomfortable! I don’t want sex with him. He’s buying me. He doesn’t like me as a person.

We have 2 seats on the side of the piano. Of course this is Magic!

I see Bob’s hands moving on the piano. His left leg hopping a little bit. But I don’t see much expressions on his face. Only at some shows he will turn to Donnie for a smile. He looks tired and weary most of the time.

Of course I know the setlist by heart and most of the lyrics of the songs. He will change some words on ‘Workingman's Blues #2 ‘ or ‘Long and wasted years’.

He added ‘Autumn leaves’ in Greenville and he will keep with it along the road.

So after 2 or 3 shows it is not a surprise anymore.

Ro decides to go to Memphis and he will take me to Graceland.

Of course the traveling is a lot easier than traveling Greyhound. I do have mixed feelings.

XI

30^th of April MEMPHIS

We reach Memphis on a day off and we go straight to Graceland. We spend the late afternoon walking around the property and taking photos. The weather is fine. I feel happy.

We have a place to stay with Klaudia. She’s a Bob Dylan Fan. A beautiful woman and a musician. She accepted to give us her son’s bedroom for 2 nights. Fortunately for me the bed is small so there will be no sex. Maybe I start to feel what D. was feeling with me ; to be friends but no more. But this is a woman attitude! No?

Next day we go early to the venue. Ro buy again 2 good seats tickets ; first row on the right (piano). It is almost 5 p.m. and I know Bob and the Band will come for the sound check.

I have a raw with Ro, I want him to leave me alone around the BD bus. I know what I want to do.

Barron and Big Bob are surveying the street. Bob’s bus pulls over in a parking lot. Bob will have to walk few steps before reaching the back stage door.

I don’t want him to see me so I’m careful  to be invisible. Bob steps out his bus and casually walks to the door. No rush, no fear. He exchanges few words with a technician. He’s dressed with a white pants, a black hoody and a pair of running shoes.

Well! That was my moment of glory ! ah! ah!

It is a long time ago when I could approach him and just say ‘hello Bobby!’ and he would acknowledge me and call me ‘the good gypsy girl’! My heart is crying! My eyes are bleeding!

Oh Why! Oh why! Those days are gone?

I find Ro on the parking lot. He missed his chance (to see Bob) for he doesn’t trust my knowledge around  Bob, the Band and the crew people. All for the best!

Randy is at the show. April and Chris are at the show. Jay and Johanna are at the show. Thomas from Germany is at the show. Klaudia and her friend will come later. M. and D. must be around but I don’t even care.

Our seats are front row on the side of the piano. This is the best.

That day had been a great day and a great evening and a great night.

XII

2sd of May THAKERVILLE.

To my surprise Ro decides to drive me to Thakerville.

We have to split the drive in half and we book a room in a motel at …Paris Texas.

Ro starts to have his libido exited. Ah! ah!

I turn him down in the afternoon. He starts to act mean from frustration. The same way I was acting with D.  So that explains  to me that D. never loved me, as I don’t love Ro.

We have no conversations. Ro lives in his bulb, I live in mine.

We have no CS host in Thakerville. Thakerville is just a huge Casino in the middle of nowhere. I found a CS Host in Oklahoma City. Ro agrees to drive there after the show. It will be 2 hours drive.

We are inside the Casino in the afternoon. I meet with Sue and a nice man who will give me a ticket. I split with Ro who is angry. Too bad!

By a ‘simple twist of fate’…D. appears in the line in front of me. I know M. is not with him anymore, for some reason I don’t know.

I spontaneously move to him. He’s not happy. Again by a pure hazard his seat and mine are in the same row, few seats away.

At the intermission I move next to D. and try a conversation. He’s cold and subdued but not violent.

He asks me some strange questions about the men I’m with ; Ro and the guy who gave me the ticket. Jealousy?

The show is the worst so far. The seats are flat on the floor so it is difficult to see Bob on stage. The sound is not so good.

Nonetheless the situation is interesting. The guy next to me (who gave me the ticket) seems to fall in love with me. I would like to know him more but between Ro and D. I’m not available.

Ro gives me a ride to Oklahoma City. It will be 2 hours drive without any conversation. Well! My head and heart are somewhere else.

He drives me to the door of my CS Host ; Brooke. As she explains to him where to park the car he says that he will not stay.

So long, good bye!

Should I feel bad and sorry?

Ro helped me a lot to have an easy travel and to find tickets. I could have done it with more troubles. It doesn’t mean I will fall in Love with him. It takes more than money to buy friendship or Love.

Plus he never understood that I imposed him to my CS hosts as an extra guest. CouchSurfing is based on trust through a CS profile. My references are excellent and I accept guests at my home. It is based on sharing and solidarity, a state of mind Ro doesn’t have. We also saved money on accommodations.

“Sex is not equal to Love”. D. said that to me once, and now I can understand it.

Brooke is a sweet heart.  Next day she takes another guest and I for a ride in the area and we have a walk in the downtown  of Oklahoma City, the ‘red bricks quarter’ and a lunch.

She drops me at the venue where I see Sue and D. D. seems to be ‘glued’ to Sue. Pretending to be with a beautiful woman? I’ve seen him with that attitude before. He was never ‘glued’ to me. I’m not pretty and sexy enough? Reality or paranoia?

John and his new girl friend arrive just before the show. The girl is cute, young and pretty!

D. is subdued. John is the lucky guy!

I feel like stepping back and making an analyze of the situation ; what a mess in the relationships!

I have a free ticket. I don’t need Ro.

I enjoy myself as I had a nice day and I will have a nice night with Brooke in safety.

After the show, as I wait for Brooke to come and pick me up, I see D. bragging around with some late Fans. He doesn’t even come to me to know if I’m fine. I pity his attitude. He’s deeply a lonely man.

XIII

4^th  5^th of May HOUSTON.

Back to Greyhound bus traveling. The ride will be 9 hours long with a stop over in Dallas.

I feel FREE.

In Houston I had 2 CS hosts. I picked up Julio first. He will pick me up at the Greyhound station. I then realize he’s living far away from the downtown area. Plus he says he’s sick and not available for sight seeing and he will be leaving himself to the airport early the day after the show.

As I have another option , I call Lee. Lee is fantastic. He will come and pick me up at Julio’s home, he will drive me around Houston for a sightseeing Tour, will cook a meal for me and drives me to the venue. I love him right away. He will become a friend.

At the venue I meet with Sue and a couple of Fans who came from Australia to see some shows. We chat and even we say hello to Tony Garnier who walks in front of the venue. Sweet Tony!

I get a free ticket. Thanks to all the anonymous people who gave me a ticket without any expectations!

After the show Sue and the couple from Australia and myself we go for a drink at the Hard Rock Café, next door. We have a nice discussion when D. shows of.  I believe Sue called him or texted him. I didn’t really want to see him. I feel embarrassed. The couple will leave soon. It will be D., Sue and I for a while. I make my move to D. But he will be ‘eyes-glued’ to Sue. I don’t exist. I feel terrible. After the closing of the Café I call Lee. D. takes me close to him and says ‘Good night Baby!’. What am I supposed to understand?

Lee cooked a meal for me. I’m exhausted and troubled but I have to be nice. Next day Lee takes me to the Greyhound station, direction …Austin.

XIV

6^th of May AUSTIN

I will reach Austin in the morning. My CS Host is supposed to be a BD Fan. She and her husband will pick me up at the station, far, far from the downtown area. I have a bed in the living room. She will make me a sandwich and they drive me to the venue in the late afternoon.  She will not attend the show.The venue is inside a University. Not much to do. Ro is here but we don’t say a word to each other.

After a while I decide to pay 40$ for a ticket. The first time I pay.

The venue is not exceptional. With the 2 Fans from Australia we try to stand up but the security is tough. We should be seated. F…!

I feel less and less in the Magic of the show. I need to remind myself that I am lucky to be here and this is BOB DYLAN on stage. Maybe the traveling is too easy? Maybe my accommodations have been too much luxury? Maybe I focus on other things?

I say bye to D. by the merchandise stand. He opens his arms for a hug!

I wait for Paige and her husband to come and drive me back home. They want to stop for food in a fast food. I’m exhausted but I can’t refuse. I just eat a pancake at midnight! I crash on my bed at 1 a.m.

I leave Austin to San Antonio next morning.

XV
^7th of May SAN ANTONIO

It is a short ride and I arrive in San Antonio in the early afternoon. Tanner will be my CS Host and he will come and pick me up after his work at 5 p.m.

I walk to the venue from the Station, only 2 blocks away.

Some Fans are packed around the back stage door. Bob and the Band will arrive for the sound check. I’m ashamed to see that they are all loaded with camera, tablets or cell-phones to take photos. I step back. Of course, Bob will hide and run fast inside the door. Why they don’t leave him alone???

My CS host, Tanner picks me up and drives me to his home. He makes me a sandwich and decides to come with me to the show.

We see Sue and …D. who leaves quickly as soon as he sees me.??

I buy a ticket for Tanner and I get a free ticket for myself.

This is my last show on that Tour. I want to appreciate fully. The MAJESTIC is Fantastic.

I relax on my seat after the show. D. is walking to me, pretending to look for ticket stubs???

Okay! We meet again in the lobby and chat with a young boxer who met Bob in the afternoon. Bob wrote him a note and added 3 tickets for the show. That guy doesn’t even know who is Dylan. He’s surprised to have so many Fans taking photo of him and the note, after the show.

I take a photo of him, D. and I…..pretending! Ah! Ah!

I say goodbye to D. about 4 times. He’s cold! Sick? Subdued? Unhappy? A troubled man with a troubled soul!

Tanner takes me home. After a quick night Tanner drives me to the Airport.

San Antonio…Miami…Madrid…Paris…Angers.

HOME SWEET HOME.

I picked up some of the concerts' reviews from the website Bob Links.(http://www.boblinks.com/).

It gives some ideas of how the shows went on regarding the music, the songs, the lighting, Bob's attitudes but also attitude of the publics.

XVI

Atlantic City  04/10

Review by Peter Stone Brown

And so the 2015 Bob Dylan tour of the South, the Southwest and Midwest

starts in Atlantic City, New Jersey, a city that would be below the Mason

Dixon line if it extended into New Jersey.  And for those who carefully

watch Dylan’s set lists, this is the same tour that started in Oslo,

Norway, October 10, 2013, and will continue with this format that includes

an intermission like the Dylan concerts of the ’60s and ’70s and the

set list that has changed very little over that time with one or two

exceptions.  And it is quite clear that this is a specific show in every

way from the song selection to the lighting to the ensemble playing of

Dylan’s band to the lighting, the backdrops and the sound and show

volume.  It is a show designed to put the songs first before the

musicians.  It’s not about guitar solos, it’s not about flash, it’s

totally about the music.

Most of the shows on this tour have taken place in theaters and the great

music halls around the world and the staging is designed for that.  The

ambiance of the Borgata Event Center clashed with the theatrical elements

of the show. 

The first gong sounded at 9:01, and an acoustic guitar was strummed once,

but the lights didn’t dim and it turned out to be a false start.  Within

a few minutes, the gong sounded again three times and Stu Kimball took the

stage playing what sounded like a minor key mountain ballad that I

couldn’t quite put my finger on as the rest of the band and Bob Dylan

took the stage starting with the song that has set the tone for this tour,

“Things Have Changed.” 

I was sitting on an aisle seat and the people in the same row right across

the aisle were engaged in a conversation that showed no signs of stopping.

 Keeping in mind Peter Clemenza’s instructions to Michael Corleone that

“they should have stopped Hitler in Munich and never let him get away

with that,” I knew this conversation had to be nipped in the bud or it

would pervade through the entire concert.  And being an old hand at this

after decades of attending concerts with audiences that have no qualms

about spending hundreds of dollars to see someone they pay utterly no

attention to, I had a brand new line to try out.  I leaned across the

aisle and said, “Excuse me, is Bob Dylan interrupting your

conversation?”  As it turned out, it worked a lot better than say

“Shut the fuck up” because the guy actually had to stop and think

about what I just said, before admitting that Bob Dylan was interrupting

his conversation.  Luckily, I didn’t have to take it further than that.

Other than that, the crowd was reasonably attentive with the security

flashlight shining brigade present in a big way on the hunt for mobile

device users, and even with that, people would still hold their mobile

filming apparatus high above their heads. 

In the meantime Bob Dylan wearing a cool gray suit had begun “She

Belongs To Me” which received a big roar of applause on the opening line

and the song included a couple of nice harp solos, especially the second

one.  I couldn’t help but note that the Egyptian ring this time around

is no longer red and back to being a plain old Egyptian ring the way it

was in the flip side of “Subterranean Homesick Blues” as well as on

Bringing It All Back Home.  

Dylan then moved to the piano, playing with force and pretty much

dominating the sound of “Beyond Here Lies Nothing,” before going into

one of the first set’s high points, “Working Man’s Blues #2”

placing special emphasis on the lines, “Some people never worked a day

in their life/They Don’t Know What Work Even Means.” 

“Duquesne Whistle” had kind of a strange opening where I wasn’t

quite sure what was going on and wasn’t close enough to the stage to

really see, but it may have been because it took the spot usually reserved

for “Waiting For You.”  Once it got going though, it was another high

point.  Then it was waltz time with “Waiting For You,” where Dylan

seemed to be enjoying his piano solo, but also served to make “Pay In

Blood” once of the few rockers in this show even more effective.

“Tangled Up In Blue” followed with the version Dylan’s been singing

for a couple of years and of course received a roar of recognition and

while Dylan was making sure very verse was clear, this time around the

verses not sung were noticeable.  Simply put, it was too damn short.  Just

as it was last fall, “Love Sick” was a strong closer to the first set,

and for whatever reason, maybe the cool additions this band has added to

the arrangement, this song is stronger now than at any previous point.

“High Water (For Charlie Patton)” kicked off the second set into high

gear followed by “Simple Twist Of Fate” with Dylan going real low

emphasizing the word fate each time around.  Then came a slight change as

Stu Kimball put down his guitar and picked up maracas for “Early Roman

Kings” in a slightly different arrangement with the emphasis on rhythm

with George Recile using timpani sticks to beat the drums, while Charlie

Sexton kept hitting this one high note all the way up the neck near the

body of his Les Paul Gibson at the end of each line basically leaving the

solos to Donnie Herron’s slide and Dylan’s piano, and along with the

rhythmic changes, it was the piano which dominated the song. 

“Forgetful Heart,” remains a song that can’t miss and led off the

closing portion of the concert.  “Scarlet Town” seemed almost

dreamlike and “Soon After Midnight” seemed a little looser than usual,

and maybe I didn’t notice it, but “Long And Wasted Years” seemed to

be missing the extra stop that was added last fall.

Again, the true high point of the night, after a not bad but nothing

really special “Blowin’ In The Wind,” came an emotional and very

strong “Stay With Me,” with Dylan making every word count.  Of all the

songs performed, it seemed that this was the one he really wanted to sing.

Opening night of a tour by any artist is usually not the best concert to

attend because by nature, especially after a few months off the road,

because by default it ends up being warmup night with few surprises.

Dylan was in excellent voice, singing sort of softly the way he does on

his latest album but effectively.  I think by the time this tour hits

Memphis if not before, they should be in full gear the way they were in

Chicago, Philly and New York last fall. 

XVII

Richmond 04/12

Two notes about the Richmond show made it stand out: 1) the audience was

absolutely frenzied, more so than perhaps at any of the other 30+ Dylan

shows I have seen. The adoration grows. Moreover, I noticed that the

audience seemed older than at most other shows.  While Dylan's audience

naturally tends toward we older folk, in this instance there were scant

few of the younger generation. I put this down to what I perceive to be

higher than normal ticket prices, placing entry beyond the means of many

younger curiosity seekers; 2) Dylan seemed physically out of sorts on this

night, although this did not prevent him from giving 100% throughout. On

many occasions he stretched and strained as if to 'work out the kinks.' I

remarked to my friends that Dylan appeared to have a sore back, something

about which much has been speculated in recent years.

Having said all that, the modestly reworked versions of many songs this

time around kept them fresh and engaging.  Here's hoping we have the

opportunity to meet up again with the master next year, somewhere down

along the road.

P. MacIntosh

XVIII

Montgomery 04/15

In the first set some notable songs included: Workingman Blues #2, where

to my listening (using the Atlantic City tape as a reference) he rewrote

four of the eight lines of three verses and completely rewrote all eight lines

of another verse; Pay in Blood had a force and power that I hadn't heard

on the album; Tangled up in Blue was magnificent (it was at this point that

Bob really began to get into his phrasing and to my hearing he kept it up

the rest of the night); Love Sick was outstanding (and very interesting to

hear after reading in the AARP interview that he considered it his best

song about heartbreak and loss) and being right before intermission,

seemed to leave the sense "there's more of this to come". Which there

was.

The second half of the show opened with Stu again strolling onto the

stage strumming and High Water taking us back into the world of capricious

nature, human folly and the eternal hope for redemption. Continuing with

the emphasis on phrasing there was the wonderful little rewrite in Simple

Twist of Fate: "Found a note she'd left behind/'What'd it say?'/ Said you

should have met me back in 58'/We could have avoided this simple twist

of fate" with Bob having a perfect pause right after the question. Forgetful

Heart continues to be a show stopper. Scarlet Town was haunting. Soon

After Midnight should have told any of us that Bob could deliver the songs

on Shadows in the Night. Long and Wasted Years was both a strange and

powerful way to end the second set.

Stay With Me is exactly the right end to this carefully scripted show. From

the opening song saying "I used to care, but things have changed" to 

"till I find to my wonder that every path leads to thee, all that I can do is

pray, stay with me.. stay with me" I can't help but feel that we have been

lead somewhere. And we have.

David Bond

XIX

North Charleston 04/17

Review by Jim Lundy

It has been only two years since Dylan played in the Charleston area and I

was interested to see how much things have changed since that blustery

night when he had to hold his hat on his head while he sang in the rain at

the Family Circle tennis stadium. I had been watching the set list for the

5 other dates he has played so far this year and knew that over half the

songs (10 out of 19) would be repeats from that 2013 concert. But true to

what he wrote in his book Chronicles, he has indeed reinvented the look,

feel, sound, and flow of the show enough for anyone who is paying

attention to notice whenever he returns to a city. At this concert I was

reminded of his famous quote from 1965: “I think of myself more as a song

and dance man.” It may have been a joke back when he said it but nearly 50

years later he has made it come true with a carefully planned and

wonderfully executed cohesive show, not just a bunch of songs.

A word about the venue: the North Charleston Performing Arts Center (PAC)

is a very nice concert theater that is the most formal setting at which

I’ve ever seen Dylan play over the last 24 years. The setting became as

much of an influence on the vibe of the show as anything that was going on

on-stage that night. The PAC is located in the center of a

hotel/shopping/big-box Mecca of sprawl that has been built up in the last

20 years in the middle of the blight of North Charleston, a city that has

become world famous lately for the police shooting earlier this month of

Walter Scott. You can also literally throw something from there – like a

rolling stone, for example – and hit the North Charleston Coliseum, which

was hosting a hockey game at the same time sharing the same parking lot.

Since I was unsure of the traffic and parking situation for those two

events, I left my house way too early and arrived at 6:30 for an 8:00

“sharp” start time. This got me a great parking spot a hundred feet from

the door but I had a lot of time to while away before the gong sounded and

Stu Kimball’s very sweet-sounding, adept strumming started the show at

8:04.

It was certainly not the opening to “Things Have Changed” so I thought

there might be a set list substitution. But as the band took their places

in the near-dark stage it morphed into the recognizable intro and the

lights came up (sort of) and there was Dylan standing center stage just 30

feet from my excellent seat in row G (that cost nearly a hundred bucks by

the time all the fees were tacked on). There was some confusion at first

on the part of the audience, many of whom assumed we’d all be standing

through the whole concert just as they had every other time they’d seen

Dylan. But this was the first instance of the theater itself taking

control of the vibe of the show. The majority middle-aged audience members

were looking forward to sitting in their comfy seats and started shouting

“Down in front!” to those who were still on their feet after the initial

rush of euphoria subsided a minute or so into the song. And even the

die-hards still on their feet after most everyone else had sunk back down

had to finally give in to all the boos and jeers they were getting as they

“stood” their ground.

Once all that commotion was cleared up I could finally concentrate on

“Things Have Changed” and how it was different from two years before.

First and foremost, George Recile’s powerhouse drumming that has long been

a favorite feature of Dylan shows for me is so downplayed now as to be a

minor component of the overall sound. He was even using “soft sticks”

(like the felt mallets used on tympani) for many songs. The overall sound

of the band for this tour seems to be country swing – or at least

noticeably tinged with it – heavy on the steel guitar, and is as subdued

and beautiful as the stage lighting which is as close to candlelight as

possible. I am convinced that this is due first and foremost to Dylan’s

near paranoia of being videoed or photographed. But it has taken on a life

of its own and it is so beautifully done with so many artful variations of

shapes and shadows that it seems to affect the songs and the audience’s

behavior and lack of rowdiness.

And just as I had immediately noticed at the last concert, Dylan was

singing and expressive in a way that he hadn’t appeared capable of 10

years ago when he whispered and recited his songs in what seemed like an

irretrievably ruined monotone voice. His apparent vigor and physical

presence also seems to be better now than it was in years past with his

movements less marionette-like and shuffling. He is definitely younger

than that now.

“She belongs to Me,” one of only 2 songs from his 1960s output in the

show, was next and it was largely reinvented musically other than the

lyrics. It featured some deft harmonica work and this mostly long-lost

talent for being tuneful and evocative was maintained throughout the night

on the songs where he soloed. At this point I also noticed that he was

giving far more attention to the audience than I have ever seen him give

before, which is to say some attention compared to zero attention. He

seemed to almost be pandering for applause when he struck a pose with his

left hand on his hip and his right hand grasping the lapel of his white

suit during the instrumental sections of this and other songs. He repeated

this pose many times throughout the show very deliberately while staring

at the audience. On other songs, he sprang up off the piano bench and made

a movement just short of taking a bow right before the end while the rest

of the band was still applying the final flourishes to the outro.

With Bob’s rediscovered singing voice now available for live performances

I was sorry that so much of the concert featured the songs from his most

recent albums – songs that were produced at a time when he seemed to have

less than a half-octave range. For example, more than half (6 out of 10)

of the songs from Tempest were included (a third of the entire set list!)

and I am not a fan of the album although I’ve tried to like it.

Together with the country/swing/soft rock sound of the night I was bored

through some or most of “Beyond Here Lies Nothing,” “Pay in Blood,” and

“Workingman’s Blues #2” during the first set. The fun waltz “Waiting for

You” was a new song to me and I looked it up afterward to find out that it

is on the soundtrack of the Divine Secrets of the Ya-Ya Sisterhood movie.

It’s nice that Bob is still mining his obscure back catalog to keep

surprising people even if he is no longer changing the set list from

concert to concert. “Tangled Up In Blue” got my attention again with

another generation of substituted lyrics keeping it fresh after 40 years

(“Simple Twist of Fate” got the same rewritten treatment during the second

set). “Duquesne Whistle” had a fun start from intentionally random

doodling by the band that quickly coalesced into a tight song that

thundered down the tracks, but more like light rail than a freight train.

And this would be as good a place as any to say that Bob has this band

operating like a well-oiled machine and he knows it and is flourishing in

the confidence. Even his own contributions on piano and harmonica are

harmonious with the band rather than trampling over it roughshod as in

years past.

A rather uninspired and muted version of “Love Sick” ended the first set

at 8:55 when Dylan said “Thaaaaankyou! We’re going to slip away for a

minute,” but the intermission lasted almost 25 minutes. They returned with

a banjo-heavy version of “High Water” that was fun enough. But for me,

much of the second set was a bust with dreadfully boring but eminently

skilled songs like “Early Roman Kings,” “Spirit on the Water,” and “Soon

After Midnight” dragging down my interest level. But the absolute

highlight was “Forgetful Heart.” It was beautifully sung and hauntingly

arranged. Bob seemed to mean and feel every word and the audience seemed

to be feeling it as well. As the second set elapsed the stage lighting

seemed to get more and more beautiful although never getting beyond the

intensity of a candelabra. To quote a phrase, “The light in this place is

so bad, making me sick in the head…”  But kudos to the lighting

designer(s) for doing such beautiful work. I’m sure they’re just following

orders in keeping it lit like dusk.

The second set ended right before 10:00 and Bob and the band left the

stage for the requisite 4 minutes of suspense before coming back for a 10

minute encore. “Blowin’ in the Wind” seemed to please the audience greatly

as a song they actually recognized. A stunningly sung “Stay with Me”

clocking in at a whole 2 minutes ended the concert.  My guess is that many

in the audience were not familiar with Bob’s post-Blood on the Tracks

output and were hearing 15 of the 19 songs of the concert for the first

time. Which brings me back to the audience and venue. Of all the times

I’ve seen Dylan live, this was by far the quietest audience I’ve ever had

the pleasure to be a part of. While there was some talking here and there,

for the most part people were sitting and intently listening with minimal

shouting of requests, texting and phone calls (i.e. “Dude, guess where I

am? I’m seeing Bob Dylan right now!”). This really enhanced my experience

and although I’ve seen him in concerts where I enjoyed the set list or

style more, I have never enjoyed the concert setting and audience more

than I did on this night.

XX

Atlanta 04/24

There were a lot of new verses and lyrics, most notably in songs like Tangled

Up in Blue and Simple Twist of Fate.  To me, the highlight of the evening was

Long and Wasted Years.  His delivery was passionate and animated and totally

powerful. There was a new verse about how we were like brothers and grew

up together and trusted each other.  And then there was a line, kind of a twist

on the one in Don't Fall Apart on Me Tonight, about how the past is dead gone

and tomorrow might as well be today.

Well, it's almost 3am and I think I'd better call it a night.  What a great evening. 

I hope Bob Dylan stays healthy and performing for many more years to come.

Ric Harwood 

Review by Noel Mayeske

Ah, the rhapsody of Live Bob! I’m always kind of pinching

myself before (and during) getting to see Bob live in concert, him being

my favorite – and time not slowing down. Soon now he will be 74. Once,

according to the Beatles, 64 was the threshold for being old. Nowadays the

meter keeps sliding. How many more years can he do it?

Based on last night’s performance, I’d say he’s got as many

more as he wants, really. It would be pointless to compare his voice,

playing or energy to other key points of his career, especially in the

distant past. Things have changed. But at the Fox Theatre last night,

under Moroccan, star-jeweled “skies” (you can see constellations of stars

in the ceiling), he delivered exactly the type of show he should be

delivering in 2015 – and he did it well.

Why is it the right show? Why not a set loaded with hits - or

even non-hits most fans would recognize?

He could do that – he could Rolling Stones-ize. And it

would make a lot of people happy. But that’s never been Bob – even back

when. You could make a case that he truly did that just once – the ’74

tour with The Band. That was as high-profile as he ever got, at least to

the masses. He sold out arenas and the set lists and performances would

indicate there were probably no disappointed fans.

But the rest of the time, on this crazy journey of more

than 50 years of live performances, it’s been about a show that matched

his own preferences. Certainly you could say that about the ’66 tour where

he was booed; the ’79 tour where he played almost no old songs; the cover

songs during the NET that nobody asked for but that revealed a lot about

Bob’s tastes and roots.

That’s what he’s doing these days, with The Set. The Set is

his nearly-unchanging arrangement of songs, dominated by 2012’s Tempest –

and only two songs each from the ‘60s and ‘70s. In fact, just under half

the set (if we include “Stay With Me,” a song written in 1963 by Jerome

Moss and Carolyn Leigh, but not released by Dylan until 2015) is from

albums less than 6 years old. Remarkable, at least in showbiz terms.

Now, despite what one might think, Dylan isn’t anti-showbiz

per se. He and his band are always sharply-dressed – this night’s outfits

were brown for the band, and a dark suit with white trim and a white hat

for Dylan. The stage was carefully designed to emulate an old-fashioned

movie set, with big movie lights arching back behind the band in an

ascending arc. And there was a nice little light show – simple, and mostly

just white lights, but it changed the feel for every song, from dim

lighting for ballads to brighter lights for “Tangled Up In Blue” and

“Duquesne Whistle.” Perhaps the most effective use of the lights came

during “Soon After Midnight,” when white lights speckled across the

curtains behind the band, like stars upon stars.

So he has a sense of what he’s presenting to the public

along with just the music – hard not to call that showbiz, in its own way.

But it’s showbiz from a different era. Consciously choosing not to keep up

with the flash of modern stage production, or even the thumbs-up, chatty

energy of a Paul McCartney or mantle-wearing muscularity and audience

interaction of Bruce Springsteen, Bob has opted for something befitting

his age and interests.

So now – to the night’s music.

The first thing I noticed was two things – Dylan’s clear

enunciation and vocal command, and the tasteful arrangements.

First, The Voice – second only to The Words in Dylan

analysis. Certainly, it’s traveled many a mile (some 3,400 concerts given

since 1961) and had characteristics from the start that turned people on

or off. When I saw him in 2013 on the Americanarama tour, he seemed old

and his vocals didn’t resonate well with me. At the Fox last night, almost

every word was clear and strong – plenty of vocal power behind the words –

and even if you didn’t know the songs, you could follow along lyrically.

(Not the case at many concerts.) This was supported by the band, which

seems to know just the right colors to add.

And unlike a Dylan show I saw in Birmingham, Alabama in

2010, where Charlie Sexton looked like a caged tiger trying to break free

of the arrangements; or the Atlanta Americanarama show that turned out to

be Duke Robillard’s last with the band due to an apparent musical

disagreement with Bob; the current band understands its role in supporting

Bob’s mostly quiet songs, and does so effortlessly. (Granted, that’s

surely aided by playing an almost unchanged set list for more than a

year.)

That’s nice to see. You want a certain amount of tension in

a band, to move the sound forward – or at least play the best one can

within the range given. But it’s also nice to not see obvious dissension

onstage.

The show opened with a loud gong, followed by Stu Kimball

playing some bluesy, countrified riffs – like a a song waiting to be

written. A beautiful and auspicious way to begin.

My favorite song performances of the evening started right

off the bat, with one I didn’t expect to enjoy so much, having heard it in

live shows so many times – “Things Have Changed.” It sounded fresh and

right; it really is the perfect opener for Bob Dylan.

“She Belongs To Me” is in my top 10 Dylan songs, so it’s a

pleasure that it’s held its spot at #2, even as The Set was originally

evolving in 2013. While it seemed anthemic in 2013, now it seemed a little

toned down, sweeter, with a nice harmonica solo.

“Workingman's Blues #2” is one of my top 10 Dylan songs

post-2000, and it flourishes in concert. While tonight’s version didn’t

have the grit and gravity of, say, a favorite version from Boston in 2009,

the clarity of the arrangement compensated.

“Duquesne Whistle” is fine, but feels like fluff to me –

just like its former placeholder of jump-jazz in the set from a few years

ago, “Thunder On The Mountain.” It’s a genre exercise and a mood-shifter,

without much substance.

“Tangled Up In Blue” – who would think any more power could

come from a song played so many times? Yet, this was one of my favorite

songs of the evening. Unlike the 2010 version I heard in Birmingham that

was truncated – leaving out all the fun parts in the middle about the

Italian poet – this was a full, albeit rewritten version. I love how Bob

has played with the lyrics on this song through the years. “Memorize these

lines and remember these rhymes,” as the new lyrics midway through go,

indeed. A definite highlight.

And although every song got great applause from the crowd,

this was the first huge cheer of the night other than the opening. Blazing

harp solo, too – in fact, the harmonica was the most remarkable solo

instrument of the night. Bob played piano on a number of songs too, but

nothing as galvanizing as the harmonica. Fun, though, to see him play both

in one song – harp first, then he wandered over to the piano in the later

part of the “Tangled.”

Part of what makes “Tangled” fit into The Set – and the

lovely “Simple Twist Of Fate” that was to follow after intermission – is

the story-telling aspect of it. It’s tailor-made for a set queue of songs

and stage set that emulates a movie set.

“Forgetful Heart” – if I were to pick a favorite

performance of the night, this would be it. Seeing and hearing Bob perform

it live adds a great deal to the recorded version from 2009’s Together

Through Life. It was nice on record, but takes on an intimacy in concert

that we’re not used to at a Bob Dylan show. Hearing it live at The Fox

last night was similar to hearing “Sugar Baby” played live at his immortal

Atlanta show from 2002 – it’s the thrill of hearing something so quiet and

intimate played to a large crowd. I read recently that Mick Jagger is

nervous about playing all of Sticky Fingers at shows this year (they’re

celebrating the 40th anniversary of that LP) because “it has three slow

songs on it… not sure how that will go over.” Clearly, halting momentum

with a quieter sound is not a problem for Bob. This performance sparkled

and pulled you in.

I was glad to see the crowd accept the lack of hits – only

once or twice did I hear the usual calls between songs (”Watchtower!”

“Hurricane!”). “Spirit On The Water” is one of my least-favorite Bob Dylan

songs, but I appreciated the response it got from the crowd – when he sang

the “You think I’m over the hill?” line, the crowd was loud: “NO!!”

 “Long And Wasted

Years” is the center of gravity of The Set and I thoroughly enjoyed

tonight’s version – a close second to “Forgetful Heart” and “Tangled Up In

Blue.” It’s been toned down a bit since last year – less venom, less

accusatory, less bitter– more wistful and personal. In fact, the

performance of this with Bob at center stage felt like one of the more

personal songs I’ve ever heard from him in concert. Whether the lyrics

detail any part of his actual life, he sings them as if they do.

(As he said in the AARP article recently, “…It’s [singing

in performance] a bit like alchemy. It’s different than being an actor

where you call up sources from your own experience that you can apply to

whatever Shakespeare drama you’re in or whatever television show. With a

song it’s not quite the same way. An actor is pretending to be somebody,

but a singer isn’t. He’s not hiding behind anything.”)

I must admit, it was nice to hear “Blowin’ In The Wind”

near the end. I appreciate the guts of The Set containing almost all new

songs, but for the versions of The Set where he’s left off “Blowin,” it

feels a little undercooked. This one floats in just in time to tie things

together, before he releases us for the night with a song from his newest

album.

A great evening with an artist who keeps on growing.

Thank you, Bob!

Noel Mayeske

XX

Greenville 04/26

Review by James Mahoney

"Well, "Autumn Leaves" seems to be in the Endless Setlist, for now,

and this setlist will be endless until it isn't.  I waited to write to see if

the song stayed, since it's one of Bob Dylan's most elegant (that word)

performances - and he's in voice now, no question.  People have been

writing PhD theses on Dylan for years, as they do with Shakespeare, and

neither of these creative people were at all predictable, so what's ahead

with Bob Dylan, no matter how many "Dylanologists" there are around, is,

as David Lynch says, God's own private mystery.

Bu it's clear that what Bob's performed songs, in the Setlist, are more

obviously about are autumn leaves, rather than good times, or hope.  And

that maybe we should listen more carefully?   Like, listening to his songs

as complex artworks, not just Entertainment by our Best Guy, Bobby. 

Greil Marcus has said that "I'm Not There" was the saddest song ever

written.   By then.  Listen to "Forgetful Heart."  And Bob Dylan's always,

throughout his whole work, most of the time blessed the world, as he ends

his sets, and Dylan's not an atheist, on any level. "

XXI

Nashville 04/27

Review by Francis King

Where to begin?   This was the best Bob Dylan concert I've seen in quite a

while.  His voice sounds great, the band is spot on, the arrangements are

wonderful and the set list is terrific.  I know that some complain that the set

list is "static," that he has been playing the same show every night since the

fall of 2013.  That complaint is unfounded; the set list is only redundant if

you've gone to multiple shows during this time period, or if you've spent

excessive time listening to bootleg recordings on line (well, I'll admit to doing

that) and, therefore, have had your fill (well, I have not, but that's just me).

The fact of the matter is that this set list is fresh and new  for another live

audience every night in the hundreds of cities Dylan has been bringing it to

all over the world.  (Time for an official live album, Bob!)

What made this show a bit better than the last one I saw in Boston last

November (same set list,  except for the addition of "Autumn Leaves") was

the excellent sound quality at Nashville's TPAC.  You could hear every note

and lyric clearly.  To be sure, that was partially attributable to Bob's level of

engagement and his effort to enunciate, but I've noticed his improved

articulation the last few shows I've attended.  The hall's acoustics certainly

helped. 

Another thing about the set list:  This 2013-2015 set list consists largely of

21st Century material (all very well performed) and a few great rearrangements

of old gems like "She Belongs to Me,"  "Tangled Up in Blue" and "Simple Twist

of Fate."  This list is also markedly different from the lists he played at his shows

in 2011 and 2012.  How many aging  "rock stars" from the 20th Century are

going to give you that kind of variety, including a load of recently written, and

very good material?  In the last year or so, I've seen Bob Seeger, Billy Joel and

James Taylor.  All  three put on terrific performances …. But, they all played

what were essentially greatest hits shows without much, if anything new,

and everything (including their vocals) sounded pretty much just like the

original recordings.  That's all well and fine…. But, for me, Dylan's continuing

reinventions of his material are far more interesting and exciting to witness.

Another thing about the set list:  By sticking with the same show every night

for quite a while now, Dylan and the band are bringing the audience an

extremely polished performance.  Unlike some of his past shows, these shows

have Dylan remembering all his lyrics, never mumbling to cover a forgotten

word, and the band knows exactly what to do and when (in contrast to the

guesswork sometimes required in the past as Bob would improvise on stage

and his sidemen would have to try to follow his lead on the fly …. Sometimes,

to be sure, with great results, but other times, just sloppy sounding).  This is

a very tight show in  all respects.

It is just so great to see this man, at 74, so fully engaged with performing,

especially his more recent material, which is up there with the best songwriting

of his career.  Again, I really wish he'd put out an official, sanctioned, properly

mixed live album!