May 7, 2015
Review by Michael Nave
Sometimes What You Want Isn't What You Need
Bob Dylan in San Antonio - with some comments about Austin thrown in
So I had the good fortune to see Bob in Austin and San Antonio on successive
nights. It has been mentioned on this site and elsewhere the fact that what we
bring with us to a performance can certainly impact the effect the performance
has on us. In other words, it's way more than just Bob. One other thing that
can impact it, in my opinion, is something as simple as your location in the theater.
In Austin at the beautiful Bass Concert Hall I was on about the 6th row of the first
balcony. This made the set list of mostly newer songs that I wasn't as familiar with
less enjoyable than the next night from the front row in San Antonio.
Now I am no Bob neophyte. These concerts were my 56th and 57th since 1986.
But I have to admit I don't listen to the new albums (those after TOOM) as much
as I should. But a few words about Bob in San Antonio . . .
This was my second visit to the magnificent Majestic Theater. This has to be the
most beautiful theater that I have ever set foot in. It was built in 1929 and has
been lovingly renovated and is a beautiful setting for the kind of performance Bob
is bringing on the road these days. It was the first theater in the state of Texas
to be air conditioned and was designed to transport attendees to a "serene
Mediterranean village at twilight". Dylan has previously played the theater in 1995.
The gong is pretty loud. It signaled the beginning of the show at about 6 minutes
after 8, followed by Stu's acoustic noodlings as the band takes its place on stage.
I'll not go song by song since we all know the set list by now. But Bob's voice
sounded a bit rougher than the previous night in Austin but it was great to be
close enough to make out his facial expressions and see the blue of his eyes as he
looked around the theater.
Most of my observations have been mentioned here and elsewhere previously,
but I would still like to add my two cents. I noticed in about 2009 that Bob was
wearing a gold band on the ring finger of his left hand. I saw him 5 times that
year and noticed it each time and wondered why no one, including me, ever
mentioned it in their writing. But I noticed last night that there were no rings
on any fingers. I wonder if that could be behind the current show.
Like others have mentioned, I believe that he has very specific things he wishes
to communicate with his audience with this selection of songs and the care he
puts into his performance. While I don't have time to mine the lyrics to back up
my speculation, I remember thinking as I listened to the lyrics that last two nights
that he is not only communicating that things have changed, but that he has
been through some tough times, either recently, or perhaps summing up his
entire life. I figure he supposes we have too and that's why he things we will
appreciate this trip through the various hells that sometimes make up life.
As has been previously mentioned, his singing is vastly improved over the last time
I saw him in 2012 in Tulsa, Oklahoma. The growl and bark has been replaced by
a subtlety in all of his singing, with dynamics I don't think I've ever heard in
concert from him. Sometimes a loud phrase, or sometimes almost a whisper,
depending on what the lyric calls for. I was impressed that he was putting that
much care and nuance into the performance.
The two closing songs, "Long and Wasted Years" and "Autumn Leaves" really
drive the sad, desperate theme home. The tour de force of the night, in my
opinion is the heart wrenching "Autumn Leaves". It can move you to tears.
It's a very odd choice for a show closer if you're just considering a typical show.
But of course, this is no typical performance and it works. The performance is
powerful and moving, albeit short. "Stay With Me" provides the perfect
plaintive plea that Bob, and I guess all of us, share with those we love. We
just beg for anyone who might be leaving for any reason to stay with us.
And I have to say Bob, that even though I found my mind wandering a bit
during your set at Bass Concert Hall on Tuesday night way up in my first balcony
seat, on Wednesday night from the front row, I resolved that, yes Bob, I will
stay with you. Through all the challenges you have thrown at us over the years
(going electric, going fundamentalist Christian, going crazy Christmas, going
Sinatra) I will stay with you. There has never been an artist that I have followed
who has challenged me, frustrated me, surprised me, disappointed me, and
ultimately impacted my life artistically any more than you. And because of that,
I will say with you.
Review by Jamie Alexander
I first saw Mr. Dylan live when he was playing "Gotta Serve Somebody" at
the Warfield in San Francisco. There have been numerous shows across the
years that stand out in my memory. The EL Rey in Los Angeles is an all
time favorite, among others. In recent years, it is difficult to express
how much I have enjoyed his concerts and evolution. I now allow myself an
occasional holiday where I explore a new city and savor his performance
and music.
San Antonio's, Majestic Theatre, was another of the beautifully classic
venues that Bob & company have chosen, so carefully. I loved his
performance. His voice, expression and harmonica are so very good, these
days. His piano playing blends so meaningfully with his talented and
accomplished team. At this show, Bob's stage presence and stance were so
confident and bold, on occasion. Mr. Dylan is looking and sounding
exceptional, as is the whole band. I'm so glad he writes and/or
interprets fresh material, rather than just playing his greatest hits.
As a long-term fan, I am embarrassed to admit to having developed an
unusual quirk. Although never professionally diagnosed, I have a phobia
of security people and sometimes ushers, so would find it unbearably
intense to talk to security people at a concert.
Since I had chosen to sit at the back of the ground floor at the Majestic,
thinking I might dance a bit, I was surprised to find the ushers standing
directly behind the back row. This isn't usual at concerts I've attended.
Given my personal phobia challenge, I did not feel comfortable there. At
intermission I moved up and was told by a woman in the audience that there
was an empty seat on the side next to her by the wall aisle. The view was
excellent. As I moved in my new seat briefly, she told me angrily that if
I wanted to dance I had to go to the back. I apologized and sat still in
my acquired seat.
The one disadvantage to these beautiful venues is that Mr. Dylan's
audience has become "the establishment" and will not tolerate dancing. I
too am the successful, highly educated "establishment" but carry my
social justice/artist/dancer/poet credentials from the past. We must all
remember tolerance and loosen up the prohibitions we ourselves did not
like as young people. I think it's okay for individuals to dance at Bob's
concerts. Individuals in one aisle seat in each row (near the wall) should
be allowed to dance (in front of their own seat) or at seats in the back
or high upper balcony. These allowances could be standardized &
understood, so that individuals would not be disturbed by security or
harmful to others. I doubt that this policy will be instituted but it's a
loss when there is no dancing, at all, at a concert.
As for my phobia, I had mutual friends and met Mr. Dylan's years ago.
Experiencing the intensity of the phobia I would never feel comfortable
going to say hello at a concert or any location that required my
initiation. I feel the need to write this because in the enthusiasm of a
concert I sometimes think that I'd like to go and congratulate him. I'm a
positive supportive verbal person in my daily life but it's not my shy
nature to do things like that, additionally, I have a phobia that I can't
get over.
Jamie Alexander
Click Here to return to the Main Page |
page by Bill Pagel
billp61@execpc.com
Current Tour Guide |
Older Tour Guides |
Bob Links Page |
Songs Performed |
Set Lists by Date |
Set Lists by Location |
Cue Sheets |