| Reviews Hartford, Connecticut Xfinity Theatre September 6, 2025 |
Review by Adam Selzer
So, the last time I saw Sheryl Crow was infamous night of the Atlanta
lightning storm in 2003. The storm began during Sheryl's set at the
Music Midtown festival, and she left mid set. We all stood around gripping
the metal rail, chanting "Rain or shine!" at the guards who told us to
leave until the rain finally stopped and Bob came on.
There were reports of storms rolling in today, and Sheryl Crow was on the
bill. Kait, who I know was in Atlanta with me that night, was coming. The
pieces were all in place.
After I landed in Hartford, Britt and I made our way to a coffee shop
where an old man invited himself to sit with us. He warned us a storm was
coming, then reminded us to play Powerball. I'm not one to play the
lottery, but when a mysterious stranger tells you to, you probably ought
to.
When we stepped out of the grocery store, tickets in hand, it was dumping
down rain. The venue closed the parking lot gates until the storm passed,
so we sat in traffic for an hour or so, messaging back and forth with
other people in the same situation and wondering if this show was even
going to happen. Atlanta 03 all over again.
But the storm blew over, and we tailgated in the parking lot until we had
to escape from a Deadhead who was either visually or audibly leaking from
every orifice and may have had rabies. This was an Outlaw crowd, and you
have to just roll with it.
Sheryl Crow did a terrific set, aided by a shit-hot backing band. And
unlike Atlanta 03, she was able to do her full set, which included all of
her hits and an excellent new song.
Now, we had seen the pics from the night before if Dylan wearing hoodie
and surrounding his baby grand piano with more light trees than usual. As
we did our between-song mini party (Kait! Ray! ShotofLove69! Irene!
Julia!) we watched as the crew set up the light trees, meticulously
arranging the little branches, and four upright lamps around the piano.
From our seats it looked like we had a good view right between the two
little trees, but when Bob came out, his face was blocked by the music
stand. We were able to move over and get an angle that allowed us to see a
bit, but most of the crowd would get only the most fleeting glimpses of
Dylan's face at all. Most of the time you could only see the top of his
hoodie.
Now, why do this? If he's mad, that didn't come across in the
performance. Perhaps he wanted to just focus hard on the music, or wanted
US to just focus hard on the music. In any case, it was surreal to see
someone dressed like the Emperor in Return of the Jedi open with
"Masters of War."
But it was a rocking opener, and by the time he was halfway through a
waltzy "To Ramona" it was apparent that Bob was genuinely ON. Tonight.
If he wanted to crowd to focus on the music, it was a failed effort; we
were all putting a lot of energy into hoping he'd stand up, and there
were scattered shouts of "Show your face!" and some chatted from the
conspiracy-minded about whether it was really even him. His hiding was a
distraction to us.
But if it was to help himself focus, it paid off. Dylan was locked in
vocally, and as a pianist, all night. The show was one highlight after
another.
Of particular note: "Under the Red Sky" was well sung and with great
piano. "All Along the Watchtower" seemed to be the point at which he
won the crowd over (except for some woman up front who kept yelling
"asshole!" between songs and flicking Bob off, making ME wonder if
this new setup is to hide from someone specific!)
Post show, the biggest buzz was about "Til I Fell in Love With You,"
still mostly stripped back, but when the music came in it was absolutely
thunderous. "Desolation Row" was genuinely SUNG, and it may have been
the tightest rendition of "Blind Willie McTell" I ever saw.
"Highway 61" seems to have a new arrangement; it seemed a little
darker and more sinister tonight than any other time I've seen it. Maybe
it was just the Palpatine cosplay!
Closing with a "Don't Think Twice" that was simply design, Bob
treated people on the right side of the piano (stage right) to a quick
glimpse of his face as he strolled off. Most people didn't get a good
look all night. It was genuinely weird in that way, I've never seen him
or any other performer hide like that the entire show. Some of the crowd
still grumbled, but a lot of the chatter included things like "well, he
SOUNDED great."
Chatted with some friends (False Prophet Michael!) and stayed for a bit of
Willie, then rushed off with Britt and Ray to a late night pizza dive,
where we ate chopped cheese sandwiches in the parking lot and an older
woman made flirty remarks based on my "this ass ain't Street-Legal"
t-shirt. Traveling to Dylan shows is an adventure, and the surreal
atmosphere of an outlaw show is often conducive to adventure.
We didn't win Powerball, though. Poop.
Adam Selzer
www.adamchicago.com
Review by Larry Fishman
While I nerded out on my last review in Gilford a month ago, here's a
quicker take for Hartford
For the openers; Madilyn Edwards is lovely and has a stunning voice, but I
just couldn't connect to her set. Not sure she helped matters singing
songs about her Schizophrenic brother who committed suicide. And despite
all the positive hype I heard about Waxahatchie they simply underwhelmed.
A nice enough sounding band, just zero energy. However Sheryl Crow
simply crushed it. An age appropriate hottie, she's a dynamic
performer. Great set of hits and should be hits. Flanked by a tight
band, I'm thin enough to join but don't have the chops. Willie Nelson
wasn't quite as good as he was a month ago, but still charms.
For Bob, he emerged amidst the darkened stage and positioned himself
stealthily behind his keyboards. He was wearing a black hoodie and while
I was sitting less than 20 rows back dead center, I would basically only
see the top of his head for the entirety of the 75 minute set. I think
he stood up once, but he did say "Thank you" to the crowd twice and
didn't introduce the band. I heard many jokey comments about whether he
was even there. The arrangements were similar to the previous leg of the
tour. When I softly joined Bob on a line on Don't Think Twice, a woman
in a row front of me turned around and said "Thank you, I now know what
song he is singing."
In terms of the performance, Bob's latest renaissance was in full bloom.
I thought his Gilford performance was strong but this one was better.
First, the band was simply tight and the sound richer. The guitar
flourishes were tasteful and present throughout - particularly from Doug
Lancio - and I felt Tony Garnier's base propelled the rhythm. Who
knows maybe they have been practicing alot during the break. I felt in
Gilford the solos - including Bob's - stepped into each others. Last
night felt seamless. Bob's voice was beautiful. He may feel distant on
the concert stage, but he poured his energy and soul into the vocal and
harp solos with artistry and love. He was locked which allowed me to
do the same.
Highlights for me; I love all the Outlaw covers along with Highway 61,
Desolation Row and Blind Willie was amazing! I've heard better
Ramonas & Watchtowers on the bootlegs of other shows. Now think the
Under the Red Sky should be performed every night. The night's opening
song, Masters of War in a funeral arrangement is perfect. No-one seems to
talk about the Military Industrial Complex as I read in my morning paper
today that ICE agents have shown up in the streets of Boston to make
arrests.
I've been to alot of shows over the years and will remember this one.
I'm going to the next show as well but who knows how much more time I
will get to spend with Bob. I cherish every minute.
Larry Fishman
Larry@thebigstockbroker.com
www.thebigstockbroker.com
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