Here I sit up back in the backwoods of New Hampshire for the latest show. 
I came to the same Fest last year despite Dylan cancelling his appearance
for medical reasons where he replaced by country traditionalist Charlie
Crockett.  Anyway, I've seen my hero at this venue a couple of times
before I seem to recall Leon Russell opening for one of them.  I used to
dig this modest sized amphitheater as it once had a more authentic local
feel with local craft beer and vendors. Now there is no free parking
($20-$60), $20 beers, $25 cocktails and bland pricy, food, ugh.   

Regardless, this was a stellar night of music for the 10th anniversary
tour of the Outlaw Music Festival.  The opener was Waylon Payne, currently
a guitarist in Willie's band who was the son another former longtime
member of Willie's band and whose mother was the country great, Sammi
Smith ("Help Me Make it Through The night"). Next up is the amazing
Lucinda Williams who lit up the lovely summer afternoon. Lucinda isn't
playing guitar these days as she suffered a stroke a few years back, but
her voice is as singular and as beautiful as ever.  Longtime consigliere
Doug Pettibone on guitar provider expert flourishes along with a terrific
band.  Jeff Tweedy's outfit Wilco was in the three spot whom I have
always been conflicted. I've see Wilco couple of times previously on a
Dylan bill and maybe with Neil Young once or twice. Tweedy has a great
voice and a lovely, relaxed stage presence with a tight and well rehearsed
band. I enjoyed about half his set, basically the tunes that didn't
turn into long aimless jams. At the top of the bill was Willie seated
with a small band and performing his turnkey set which I have seen a dozen
or so times over the years. He's in his 90's and still taking solos
on one of his beat up guitars. God bless.

And now on to Bob whose band set up 15 feet back from the front of the
stage. I was in the 6th row and had a great view of the man all night long,
but much of the band was partially hidden from my perch. I didn't buy
my ticket to see Tony Garnier or Anton Fig, but couldn't really see what
they were up to for much of the night. Bob was perched in front of his
keyboards, standing or sitting depending on the tune. Bob in all black
with a white fedora was in charge and locked in. Giving great care for
each song, leaning into each song and at times bobbing slightly to the
rhythm. Playing a ton of harmonica throughout the night, his voice, as
has been noted, has long been renewed and sounded strong and clear. He
never introduced the band and I don't think he spoke a single word to the
audience all evening. I make a point to never listen to bootlegs of a
tour when I am going to a show so that I can hear the new arrangements
live for the first time - hey, isn't that why we go to these things.   
New arrangements is an understatement as nearly every song was recast.   

1.  Positively 4th Street.  Not sure you can start a set with a more
welcome classic than this. A faithful arrangement, perhaps a touch sloppy
but man oh man was I vibing. He opened his last couple of shows with this
and my fingers were crossed that I would get one too. Thank you. In a
world of rising authoritarianism, I can think of a few people I'd share
the lines of "just one time you stand inside my shoes/You'd know what
a drag it is to see you."  Maybe rock's greatest kiss off.

2.  I Can Tell. The first of five covers - four of which I had no clue
what to expect. This Bo Diddley tune was performed in a jaunty,
rockabilly style, the sly dog let out a little chuckle it seems when he
belted out the final chorus, "I Know you Don't Love Me No More".
Fun.

3.  Forgetful Heart.  From the under appreciated Together Through Life,
this take was dark and suspenseful with the thrash of guitars accenting
the mournful rhythm.  Bob Britt felt uncaged in this song and really all
night. Bob's band is famously leashed and they felt tight all evening
and given a little more room. Bob, of course, was a bit undisciplined
with his piano solos - many stepped over the line.  

4.  Axe and The Wind. Another cover, yet another unearthed by Zimmy from
god knows where.  This tune swung gently, felt a little messy but Bob
saved with a nice harp solo.

5. To Ramona. Maybe my favorite tune of the night, I think of this one
along with "North Country" and "Spanish Leather" as those achingly
beautiful acoustic treasures from those early albums. Now on keys which
changed the whole deal along with a vocal emphasizing a word two on each
lyrical line. Hit the mark. 

6. Early Roman Kings. AKA Hootchie Cootchie Man or every blues song ever
recorded. I think Bob likes to put this on the setlist so he can declare
"My bell still rings."  He's played this one alot in recent years
and the last version when Jim Keltner was in the band felt like a missed
opportunity. This one was tighter and stronger and certainly was time
for an upbeat number.

7.  Under the Red Sky.  A song that has worn and aged well. I remember
buying this album when it was released (with Slash. George Harrison, Elton
John, Steve Ray Vaughn playing on it!) and then feeling it was an empty
misfire. Somehow over the years, I have really taken to it and simply
love this tune.   

8.  I'll Make it All Up to You.  Another example of his encyclopedic
knowledge of music.  hese kids nowadays think Garth Brooks is oldies.
A charming ballad of lament.

9.  All Along The Watchtower.  The crowd was certainly glad to hear
something they knew and now reworked not as a Hendrix tribute but
somewhere in-between that and the original John Wesley Harding version.  
A lovely acoustic centered take with Doug Lancio's gentle riffs on
guitar, melodic and ambient. Excellent.

10. 'Til I fell in Love with You. Holy smokes, a wild reimagining.  The
ballad further slowed down and blown asunder and reassembled
unrecognizably, basically spoken with word with a call and response almost
gospel feel. At one point, Bob swung his arm across for emphasis. 
Preach! 

11.  Desolation Row.  Time to pick up the pace, having the same melody as
well know but snapper and with Bob's wicked phrasing in full form and
maybe one of Bob's better piano solos somewhere in there. Strong
take and, brother, it is ALL in there.  

12. Love Sick.  Still faithful to the album, but a fuller feel with Bob
Britt adding an extra chord in there at times. I give this a highlight
star as well.   

13. Share Your Love With Me.  Cover #4 was a catchy little confection.  
He'd make Harry Smith proud. 

14.  Blind Willie McTell.  Along with 4th Street, I was highly
anticipating this one. This is a treasured classic performed a bit
slopply and imperfectly but I am glad I am the right side of the grass to
be here to listen to it. I'd be happy to drive two hours, eat bad
french fries to hear an entire set of 17 versions and then drive back
home.

15.  Highway 61 Revisited.  They got the crowd up and dancing when they
hauled out this comic rocker. Glad to hear some slide guitar. Fantastic
take.

16.  Searching for A Soldier's Grave.  I remember this tune from the
Larry Campbell era and was excited to see that it was back in the setlist
the last few nights. This recast missed the guitar centric arrangement of
yore but still a delight to hear. 

17.  Don't Think Twice It's All Right.  Closing out the night with a
deconstructed spoken word take of the beloved tune. Still melodic, but
slower and delivering those laments in a new way.

Overall a great night, fortunately I have two more shows (Mansfield &
Hartford) next month after the break. Look forward to seeing if there are
new magic tricks.

Larry Fishman
www.thebigstockbroker.com 
Larry@thebigstockbroker.com