October 24, 2015
Review by Craig Hatfield
The Royal Albert Hall is a beautiful building. A memorial to Victorian
Britain. It's a delight to behold. So tonight is not necessarily all about
Bob. We're all a little bit touristy too. So I'm a little ruffled as the
first thing I'm told as I enter the auditorium, 20 minutes before the band
are due on stage, is to turn my phone off. "Bob Dylan has asked that
nobody takes any photographs tonight. Not even now. Please turn your
phones off." Sorry Bob, I transgressed your rules. With a couple of
minutes to showtime Bruce turns to me to suggest that things might be
running late, "There's no sign of things getting started yet." Maybe Bruce
was getting a bit concerned after reports about One Direction's recent
last minute postponement. "Bob'll be on, dead on time." I assure him.
"Everything will run like clockwork." "Wanna bet?" asks Bruce. Two minutes
later I'm collecting 50p off of Bruce, then I dutifully put my phone away.
OK Bob? The last time I saw Dylan was nearly two years ago, in this very
Hall. The first thing I notice is that there's no overblown introduction.
No "Ladies and gentlemen please welcome the poet laureate of rock n
roll..." etc. In fact, no introduction at all. The band just amble on with
Bob in their midst. Last time, Bob stood centre-stage, definitely, like a
gunslinger. This time he just shuffles forward. Like an old man shuffling
forwards. The next thing I notice is that his voice seems less barbed.
Less like 'gargling broken glass', more plain old 'sore throat'. But a
rich, mellow, sore throat coated in Benelyn. Tonight's voice is
beautifully suited to the slow Sinatra numbers. And these songs are the
most enjoyable ones of the set, and generally receive the warmest
reception. Which is a good thing. The set is heavy on recency. 10 out of
the 20 songs are from the last two albums, and 2 further songs are other
Sinatra numbers. But the first half ends with an old familiar, although a
little more mangled than, Tangled Up In Blue delivered in third, rather
than first, person. There were lines about "the radio blasting out the
news" when I was expecting something about Bob "standing on the side of
the road with rain falling" on his shoes. And I think he missed out the
entire verse where "She was working in a topless place" Shortly after this
Bob speaks!!! I can't tell you what he said, but it was obviously
something about going off for a short break. The second half follows the
format of the previous three Albert Hall shows until song number 13 when
Bob decides to drop my favourite song from 'Shadows In The Night' in
favour of 'Where Are You?' Bugger! I was looking forward to 'The Night We
Called It A Day'. I offer Bruce the opportunity to win his 50p back if he
shouts out "Judas!" He declines. But by and large I have to say that these
slowed down, quieter, clearer, numbers are the way forward! As another
Dylan friend put it, "Wouldn't it be great if he gave some of his own
numbers the same treatment." Perhaps. Or perhaps it's just that this
approach suits most of us in the Hall tonight who, let's face it, are
approaching our slow and shuffling years. So, in closing; Ok Bob, I may
have stolen a few photos of a still filling-up Albert Hall two hours ago,
but you owe me 'The Night We Called It A Day'. That, and maybe a cheeky
little surprise off of the Christmas Album next time? :-D
Craig Hatfield
Cambridge, England
Review by Joe Neanor
Bob sang his heart out tonight, his affection and respect for the Shadows In
The Night songs demonstrated throughout the show. I suspected Bob could
sing when I heard Nashville Skyline way back when and so may be less surprised
than others by his ability to deliver a melody. While the Sinatra covers he
performed mean more to Bob than me it was fun to see him enjoy himself in
crooner mode and do his shuffling, swaying dance steps that only he can get
away with. He even inspired a couple to waltz in the Royal Albert Hall gallery,
a wide balcony that runs around the top of the venue where you stand to
peer down on the show from a height close to the roofline.
For me though the Tempest songs were the best part of the show. Bob may
passably sing Sinatra but I doubt that Ol' Blue Eyes could have done justice to
Scarlet Town, a strictly no dancing zone.
The piano seemed pretty much a prop. Looking down on Bob during the first
part of the show it didn't seem that he did a lot of actual playing as he perched
on a seat turned short side on to the keyboard, presumably so he can turn
towards the audience more easily. Lyric sheets were spread across the top of
the piano but Bob didn't need such things when at the front of the stage,
where he sung freely and confidently.
Dapper as always, his Saturday night blue stage jacket featured crossed cutlasses
and other patterns.
This was the fourth Dylan show I have seen at this venue over the past two years,
each time from a different position in the hall. It seems to me that the higher up
you go in this venue the soupier the sound quality gets. On Thursday night sitting
in the lower down stalls I could clearly distinguish Bob's vocals, while on Saturday
up in the gallery the music and vocals tended to mush together.
Bob chooses not to be his own tribute act and it was so nice to hear his reworking
of the only song he has performed every time he has played this venue over the
years, She Belongs To Me.
Joe Neanor
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