Viareggio, Italy

Cittadella del Carnevale

June 16, 2010

[Francesco Ciuffi], [Marina Montesano], [Michele Ulisse]

Review by Francesco Ciuffi

Well well well,  i stopped goingto his bobness shows back in 2005, after a
terrible bologna show. Not that some of the previous shows were
memorable...after 20 years of shows (first one in milan in 84) i was pretty
disillusioned about the man. yeasterday evening, being viareggio just 20 km far
from where i live, Ibroke the prosmise and i decided to give the man another
try. I must admit that i went to to viareggio without great expectations but the
fears i had before the show were completely blown away by an extremely solid
performance. He was clarly focused since the very firt note. He also tried a bit
guitar soloing during senor and the show was consistent all the way through. It
was clear that he was having a good time, senor, menphis blues, high water and
the man in the long black coat were abosolute highlights but the version of not
dark yet was really a treat. even the more rollinkickin numbers were palyed
pretty well, with a sort of sun/chess records vibe. Of course, as usual with the
man, there were some pretty embarassing moments. Desolation row was really what
the title prosmise, and LARS and blowin were ragged and never reached a
momentum, they were just meandering without any idea where to go. It was like
tha the little magic we witnessed before was blown away by the little
intermission before the encores. Was this my best show? Naa, far form it, but
after 5 years i was glad i gave him another chance, if he keeps going this way
going to a show still make sense.

Francesco Ciuffi


Review by Marina Montesano

My first Dylan show of the year is set in a not too nice Cittadella del Carnevale that looks 
weirdly like a penitentiary courtyard. At the gates security proves unaware of how to deal 
with a few dozens people who have camped since the morning or the early afternoon in 
order to get the better placements when inside, so they make a total mess. Anyway, we 
manage to get in safely around 7pm: there are chairs inside, but the first rows will get 
standing in front of the stage when the show starts, 9.30 sharp. Rainy Day is a fine 
opening, but the show really begins to grow with a nicely done Seņor: big cheers from 
the crowd. Bob's on guitar for the first three songs, his voice is strong for most part of 
the show, the Band is tight. I do not think Charlie Sexton is the best of guitar players 
(just very good), but he adds some movement and fire to the performance. Highlights 
for me are a newly arranged Shelter From The Storm and a spooky Man In The Long 
Black Coat, with Bob on guitar again. Then Not Dark Yet with him center stage with 
harp only, as he does on the fantastic Ballad Of A Thin Man, which is now a piece of 
theatre more than just another song. The fast numbers are often explosives (Highway!) 
and Just Like A Woman closes with a memorable harp solo. Encores are so-so, less fire 
from the Band, or maybe I do not like Blowin' that much. Both Bob and the Band are 
smiling and relaxed all the way through the gig, as I know is common these days. 
Will check again in France and let you know. 



Review by Michele Ulisse

I've heard and read about Linz.
Friends that were there told me how great of a show it has been.
Some of 'em, being in Linz and Viareggio told me Viareggio was superior.

I still have to listien to Linz, but in the end it's not important, it's not a

I was in Viareggio (and other 6 shows),
I'm not somebody who often writes reviews,
and I don't think every single show is "amazing", "superlative",
"unbelievable" and so on,

Viareggio was simply one of the best gig I was at in the last 7 years,

2010 is a stronger year than the previous, since 2004 on,
Bob seems to be more energetic, more willing to sing,
and not just beat the beat, or the upbeat,

Viareggio was on of those gig when you know it's gonna be good just because of
the way he's walking on stage. And then it ended up being better than expected.
One of those nights when he's committed to every single note, to every single
word, to every single harp breathe.

He wasn't having too much fun on stage,
he was just absorbed, focused, driven by the muses,
no time for simple fun.

That was the hardest stuff.

The shaman was on stage, and he opened the door,
that door whose knob just broke,
and that's not that easy to open.

But Viareggio was not a dream no more,
sons, it was the real thing.

Michele Ulisse


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