October 10, 2012
Review by Peter
Calgary had its first taste of winter October 10th, with a light snow
falling most of the day. Having seen Dylan kick off his North American
tour in Lloydminster just a few months ago, I had no intention of
attending this concert. But as showtime neared I, of course, began to
feel the lure, as any longtime fan surely would. (Let's face it: at this
point, any opportunity might be my last opportunity to see the mortal bard
in concert.) I gave a friend a call. He'd long ago promised himself he
would never attend another concert at the acoustically-challenged
Saddledome but was interested in seeing Knopfler. So, on impulse, we
hopped in the truck and headed for town. We settled into our seats a
dozen rows back from the stage just as the lights dimmed announcing
Knopfler's arrival. I haven't kept up with Knopfler's career, although I
was a Dire Straits fan and even saw them in concert in this same god awful
venue more than 25 years ago. Anyway, despite my unfamiliarity with the
songs, I found them all instantaneously engaging. He and his band
provided a very pleasing mash-up of British and American folk styles with
some rockabilly and blues thrown in for good measure. The arrangements
had great nuance and colour; rich and refined and wonderfully performed.
It warm, laid-back and certainly pleasing to the ear. He was, quite
rightly, warmly received by the audience. I knew Dylan would be a profound
and jarring contrast, so much so that I might not even be ready for it.
But, in the end, I think what surprised me most was how quickly he was
able to shift the energy of the room. Out he comes to Watching the River
Flow, pounding on the piano and bleating away, 'what's the matter with me?
I don't have too much to say...' and everyone on the floor is standing,
grooving to the beat. Granted, down on the floor, he's preaching to the
choir. Still, Dylan and the audience seem to be feeding off each other.
It Ain't Me, Babe is a little listless and suffers from Dylan's obvious
vocal limitations, but once he's back centre stage for Things Have Changed
and Tangled Up in Blue he's shakin' not stirrin', spitting out the lyrics
with conviction while the band is cooking behind him, with some excellent
interplay between Charlie Sexton and Donnie Herron. At this point, things
are going marvelously well. I know it can't last.
Showman Bob disappears for a while, and out pops Force of
Nature/Antagonist Bob: wild, mercurial and chaotic. Honest With Me is
aimless and indecipherable. But it's nothing compared to the catastrophe
that comes a few songs later: Bob begins hammering the same three note
chord which seems to have no relation to what the rest of the band is
playing. Thelonius Monk? Probably more like Thelonious Monkey. Donnie
Herron peers over Dylan's shoulder hoping some sort of sign is
forthcoming.
None is. Is it Desolation Row? ... Just Like Tom Thumbs Blues? ...
Bassist Tony Garnier looks bemused. He probably knows there'll be no
reining the boss in on this one. Finally, we hear: 'ain't it just like
the night ..' This makes a positive id possible, Visions of Johanna, but
the melody and beat remain missing in action for the duration of the song.
Instead, impetuous and child-like, Dylan continues with his ill-advised
atonal molestation of the ivories, gleefully drowning out and confounding
the band. Was there a single person in the venue who was not relieved
when this abomination finally concluded? Maybe Bob Dylan, but that's it.
And yet, sandwiched between those two natural disasters a sensitive,
melodic and instantly recognizable rendering of Joey that even had some of
us singing along. Go figure. And Simple Twist of Fate was also nicely
performed with Bob playing lead guitar with a surprisingly deft touch.
Having driven away the last of the unbelievers, Dylan's catharsis of chaos
is seemingly complete and the remainder of the concert builds to a
rollicking conclusion with especially stellar versions of All Along the
Watchtower and Ballad of a Thin Man, despite being two of the most
overdone songs in the playbook. My friend by now is pointedly holding his
hands over his ears. There are many testimonials in the local paper the
next day of those who left after three or four songs, disgruntled and
disgusted and appalled. I guess they haven't heard: Dylan's gone
electric. It seems many fans are offended when Dylan refuses to exhibit
the same reverence for the songs that they have. Hey, Dylan was on stage
about 90 minutes and he gave us one great hour. A .660 batting percentage
is pretty good, if you ask me. Finally, a few thoughts on the stage and
lighting: There were several mirrors set at the front of the stage,
pointing back at the audience. And for a good portion of the show, the
band was backlit, with those lights, too, pointed back at us. I assumed
this served the utilitarian function of discouraging photography. But it
also occurred to me there might be a message in the madness: a reminder
that we are here for music - and music is about sound - not sight, not
spectacle. Bravo, Mr. Dylan! Truly, you have no peer.
peter
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