Bridgeport, Connecticut

Arena at Harbor Yard

September 30, 2007

[Cary Krosinsky], [Howie Weiner], [Jack], [Jason Polanski],
[John Sipowicz], [Ernest Pancsofar], [Brian Slattery], [Dave Klein]

Review by Cary Krosinsky

Bridgeport Connecticut - a place that time forgot, but a show that soon
won't be forgotten

can Bob do a note perfect show?  Yes

Florence 2007 was that way too - but this was a whole other level - not
better, but equally good without any shadow of a doubt

Elvis too was on total fire, and I think he and Bob are inspiring each
other - Elvis got standing ovations after every song - rightfully so -
making you wonder if Bob could match that somehow, and you doubted and
you would be very very wrong

a note perfect concert?  how on Earth did he do that?  how?

the encores were very good, but not on that level, but the Bob show

I don't know what to say

My friend Charles had the same reaction regarding the Ryman show when he
mentioned that he saw what he was supposed to - and that about says it
all for tonight

it's amazing that this time last year, Modern Times had just come out -
what a transition this band has made

alright, alright, after all that, a song by song review, shall we?

Pillbox Hat opener and it's rocking and Bob's finding new phrases and
singing well - recent show reviews mention talk of a lot of roughness in
his voice, especially at the start - not tonight - not for a single

It Ain't Me Babe and no, you came to see a Bob that doesn't exist -
cause this one's different - just like in 1964, and just as
Charlespoet's great spoken CD on Bob said, which I listened to on the
way to the show, and the way back, and with end of weekend traffic,
Charles' poetic incantations on Bob were a perfect intro to the show,
zigzagging my way through the back roads of Connecticut that I knew
would get me there on time, whilt the mass hystericals sat,
unnecessarily, in a traffic jam of their own making

Oh yeah Bob - it was you that I was looking for - and lucky me, I found

sung well, this version was worth the price of admission alone - sung
with a mostly low voice - one of about 15 vocal style personas he put on
this evening -  then again, I'd said that after Elvis' amazing Red Shoes
opener that was also worth the price of admission - they really are
pushing each other, Bob & Elvis, I'm fairly certain of that

and then I'll Be Your Baby Tonight - played kind of like Moonlight -
spooky - this sparsely framed old man in a sparkly odd suit & hat
singing 'have no fear' with a voice that makes you tremble - new guitar
licks and a great unique version and that was it for the guitar and who
fucking cares

to the keys - turned down a bit - less abrasive - and right on

for a transcendental version of You're a Big Girl Now - sublime - a
combination of amazing highly sung verses, lowly sung verses, and more -
words won't do it for this one - it's slowed down and it's beautiful

and then to these Modern Times, and it's blues at it's roots Rollin &
Tumblin along - and here Denny Freeman takes over, snarling guitar
lines, pulsating, vibrating, wonderful

then the crowd finally sits - little to none of that usual 'down in
front' stuff tonight - everyone was standing most of the time on the
floor, anyway- and it's Workingman's Blues and of course - it's great -
no specific memories other than the song building and building to a very
nice crescendo and Bob nailing all the choruses

not many memories because what followed was an incredible version of Til
I Fell In Love You - a song I've now heard Bob do 3 times in Connecticut
and this was by far the best - slowed down and pulsating with wild
energy, Bob started pulling out the verses with very long enunciation
which I don't think he's ever done before - he certainly didn't do it at
Mohegan Sun earlier this yearm or any recordings I've heard - a great
song that keeps improving - this was a masterpiece

When the Deal Goes Down was amazing - sung low, and uniquely - beautiful
and poignant - the only other song where the floor sat - couldn't
understand how the people on the sides were almost all sitting all show,
that would have been impossible for me - and while I'm on the subject it
was a decent size crowd - the floor, straight back, and sides were
pretty much full, but the back corners were empty which was odd but
totally meaningless, other than that a lot of local people had a chance
to see a gem and missed out - their loss

Then Honest With Me - which was soaring, majestic - was it the best song
of the night so far?  possibly - in a night of gems, this one was

Spirit on the Water and sorry but I didn't yell 'No' to Bob's question I
yelled 'Fuck No' cause nothing could be farther from the truth - this
one grooved

Highway 61 of course cause this band had earned the right to rock and
Bob's twisting the words and he and Denny do this little odd duet that
works and the whole thing takes off

this and Honest With Me, George goes completely bonkers on, as always,
to great effect, but perhaps especially tonight

and then Bob makes the crowd completely silent except for the
overexuberant guy just behind - I was about 10 rows center - and I
wasn't exactly not exuberant - but Bob nailed this Nettie Moore to a T -
on this note perfect night nothing else would do

Summer Days and it's rocking and fabulous and I Shall Be Released, yes,
we all will, from what was this perfect show - and yes, Elvis too was
note perfect and both were wildly receiveed with applause at set's end
and justifiably so

Thunder was Thundering - not perfect, a bit jangled but right on in its
own way, so who cares - and Bob forgot the first 'Like a Complete
Unknown' during Rolling Stone, cause he's not, and it was still a great
version and a perfect night


Review by Howie Weiner

I made my way in early to see Elvis Costello solo acoustic. I like his
first two albums; I thought he’d be better in concert. He opened up with a
well played Angels Gonna Wear My Red Shoes.” He said he wrote “Veronica”
about his grandmother. I did not need to know that. Every song was
delivered with the same pace, cadence and in the same key. His between
song comments were a bore. I’ll skip his act when I see Dylan in Portland
and Albany. Now to the good stuff.

Bobby takes the stage – White hat, black suit, yellowish
tie…Cowboy Band – black suits and hats…Leopard Skin Pill Box
Hat smoked tonight. The band got down to the nitty gritty.
Though he only did three songs on guitar, Dylan seems more
comfortable on guitar this tour. Bob was smirking as he
whipped his way through a thumping “It Ain’t Me Babe that
stylistically resembles “Love Sick.” “I’ll Be You’re Baby
Tonight” made perfect sense as the chaser. Dylan settled
down behind his beloved ivory a he started the next jingle
with a fluttering harp solo. I couldn’t place it till he
crooned, “Our conversation was short and sweet.” Yeah, Yeah,
my first You’re a Big Girl Now since the G.E. Smith days.
Awesome selection in the fourth spot! Bob was growling as
his footwork at times reminded me of an NFL center and then
minutes later his legs were pressing close together – he
looked like a ballerina about to spin away. The Cowboy Band
was on the money as usual.

Rollin’ and Tumblin’ always works for me, Bob’s Happy, I’m
happy, Denny’s kickin’ the slide. Caught my first “Workingman’s Blues #
2,” it was fantastic, but let me warn you – don’t expect something as
poignant and well executed as the Modern Times version. Bob coughed,
barked, growled and howled his way through – it was something! “Sing a
little bit of these Workingmaaaaaaaaaaaaaans Blues,” he sings. Dig it –
it’s a big ass truth, nothing clownish about it.

“Till I fell in Love With You” doesn’t usually fire me up,
but tonight it was smoking. The crowd really seemed to get a
kick out of it. “When the Deal Goes Down” hit the spot, it
was a little quicker than usual. Denny had a great night – a
lot of opportunities for him to do what he does best – jazz
licks. The crowd responded to him all night. “Honest With
Me” was solid, it went by like a puff of wind. Another night
means another “Spirit on the Water,” if Bob digs it, I
acquiesce. “Highway 61” was reelin and rockin like never
before. It exploded out of the gate; Bob was improvising
some great organ licks as Denny danced with him. We all see
this song so much, I thought I might be tiring of it,
but…Sweet Jesus it rocked. The beat of “Nettie Moore” was a
tad nippy - Dylan laid down some funky chords that hit my
funny bone, I gotta check out a tape of this one. Nettie
Moore is my religion, the lyrics are my lexicon. Summer Days
was hot as always…I Shall Be Released was a great set
closer. Thunder> Rolling Stone encore I don’t know what to
say about these concerts anymore – ho hum another
transcendental / brilliant performance. Seriously, don’t
miss the opportunity to see Dylan, he tours so much you can
take it for granted. There’s something happening here.

Confessions of a tour junkie volume 109
Howie Weiner


Comments by Jack

I must say I was disappointed with the sound mix, it was so loud that a 
great song like "Honest With Me" sounded just loud.  Hard to even pick out
the guitar parts from the noise.  Perhaps four shows in four days, take a
toll beca use Bob's voice was about as weak as I remember in a long 
time.  Finally got to hear Nettie Moore and Workingman's Blues and while 
great songs on the CD I was a little disappointed in them live.  I don't 
know if it was the pacing, Bob's voice or the complete lack of melody.  I 
don't know how Bob has the energy to work so hard.  Getting on 95  North
there were the tour buses headed to the next stop.  Those bus  drivers fly
cause I was moving and could hardly keep up with them when they got  on 91
North.  On a side note Elvis Costello told some funny  stories.  He
mentioned the last time he played Bridgeport, he played at the Jai Li
Fronton (whatever that is).



Review by Jason Polanski

This was the first time I believe that Bob has played Bridgeport during
the never ending tour and definitely the first at this arena. Elvis
Costello opened and actually made reference to the fact that this was the
hometown of P.T. Barnum. I guess it would have been fitting in the town's
current run down state that Bob would have played Desolation Row, but
since when does Bob play the obvious choices.

What we did get was a show featuring mostly songs from Dylan's last three
albums. The night was driven by Dylan's keyboard playing, many times
taking the leads and requiring the band to follow along, which is no easy
task. Bob was dressed in a black suit with a gold scarf and the white
Rolling Thunder hat. The big red amp behind his keyboard had the familiar
Oscar. The incense burned as usual. The crowd was on their feat for a
majority of the show.

The highlights:

My favorite was without a doubt TILL I FELL IN LOVE WITH YOU. Halfway
through Bob formulated a vocal riff that involved holding the second to
last word of each line. This pattern followed to the final verse when he
sang "Till I..Fell In Love..Wiiiiiiiiiittttthhhhhh.YOU!" I can't stress
enough that Dylan was showing off some amazing vocal control and breath
control. But what really drove it home was when he played the harmonica,
copied his vocal pattern, and the band really picked up on it. I know he
goes for this method here and there, but on this particular performance,
it really really worked.

Back to the keyboard playing, the middle instrumental on HIGHWAY 61
REVISTED was amazing. Bob really cranked the sound levels up on the
keyboard and started playing a riff on the highest possible keys. It took
a few bars for the band to pick up on this, but the music exploded. Anyone
who was sitting in my section were now dancing. Another highlight.

A great song to here as well was YOU'RE A BIG GIRL NOW. Bob really nailed
the line "singing just for you" and every line was sang very carefully. 

THUNDER ON THE MOUNTAIN featured some more great vocals, especially when
he sang the verse about his "religious vows". He was extending the last
word of each line again on a song that you wouldn't think would allow for
that room.

And speaking of finding room in songs, it is just amazing how, as an
example on I'LL BE YOUR BABY TONIGHT, he can just find spaces between the
lines that you wouldn't think could exist.

Anyhow, a very solid show, no surprises in the set, but Bob and the band
have really come together. It was a great crowd, except for a few whining
folks who wanted everyone to sit down. Not sure why they keep coming to
the shows. I look forward to Worcester and hope you guys get a hold of the
recordings from this show as you will definitely enjoy them.

Jason Polanski


Review by John Sipowicz

No longer is the Bob Dylan Show built around spontaneity. The current
incarnation of the bard’s back pages is a deliberate and focused

The words have been compressed. All the layers of their past and raging
glories are still there—perhaps hidden beyond the horizon—underneath that
wise man’s growl.

There doesn’t seem to be any sweeping rights with his voice or harp…he
sticks with the jabs and quick combinations of phrases and eyebrow
lifts…he keeps us on our heels without ever really knocking us out.

Yes, we’re all just sitting there listening with our pillbox hats and
Siamese cats, wishing it was you that we’re looking for…Bob.

No frets, for this night like many others; you were our baby tonight.

Parts of the show were short and sweet. Some parts rolled and tumbled.
This cowboy band has made adjustments to fit the words like a glove. It’s
not supposed to sound like Larry and Charlie’s band. Those days are just a
sweet memory…

The new path needs no guide…he knows the limitations and his strengths.
You could say, he’s come to grips with more than just fate.

And that organ sound, that sweeps down good ol’ 61 and glistens over the
face of the deep…I’m still hearing it. Still breathing it… I’m still

Maybe you’re over the hill, maybe you’re past your prime, but in the end
it’s still one hell of a time. And the rest of them…they can’t wait…they
still gather around. 

So keep on keeping’ till that deal goes down.

The experience happened from 4th row dead center.

Bob played a much more animated/better guitar than the last guitar show
(Bethel) I saw. Big Girl was dynamite…as was Till I Fell In Love. Weakest
moment and really the only…may have been Workingman’s Blues #2. Denny is
playing more colors…showing off in previously inaudible spots…aka..Nettie
Moore…which was softer than I can ever remember? Other than that…a really
nice show…especially being 4th in four. Oh, and George is animal!

Elvis was wonderful…could be the best opener (aside from Merle) in quite
some time. His voice is a great, great instrument. The passion
though…rippled through every song…it made more sounds than just the guitar
and voice created.


Comments by Ernest Pancsofar

Images and Truths from a Sunday Night

Yesterday's show was very good
But tonight was better from where I stood
The mournful sound from Donnie's electric violin
Gave eeriness to Nettie Moore with added passion.
I detected some skillful improvisation on Honest with Me
As Denny Freeman excelled for all to see.
The selections complimented each other well
But I was hoping and wishing for Blind Willie McTell
However, what Bob plays and what he leaves out
Is what seeing him live is all about.
What a way to start my week
As I plod along and continue to seek
The connections of the slender threads
That interweave in blues and reds
And make up the passage of this current time
And out of the chaos comes some rhyme.
Thanks again, Bob, to be in your presence
Adds richness to my life at its core essence.


Review by Brian Slattery

What is there to say that hasn’t already been said about a Bob Dylan 
concert?  Where to begin saying what  probably has already been said? 
Where to end? Well, I guess I will start at the logical place:  somewhere
in the middle.   On the train ride up to  Bridgeport I was wondering what 
would Bob have in store for us this night, it being the fourth show in as
many  days?  Would his voice be  strong?  Would he be energetic?  Would he
be playful?  Or would he deliver a competent but  uninspiring show due to
road weariness?  Most of all, I wondered if when it was all said and done,
would this trip  have been worth it? I passed the time on the train
talking with fellow Bobsters Nina and  Charlie, who first brought me into
the fold of the greatest group of fans in NYC  (or anywhere, for that
matter), and I thought about the show and my attendance  at it.  Up until
a week ago, I  hadn’t thought I’d make a fall show.  Every day I was
hopeful to find NYC area dates added, and every day I was  a little
saddened that none had been.  Yet hope sprang eternal.  But  as this show
approached and no NY/NJ dates were added, I resigned myself to the  cruel
fate of missing out on a Bob show this time around.  However, I must have
been fooling  myself.  For distance does not  matter when it comes to
seeing Bob.  When there ’s a Bob show, there’s a way; so I decided to
take the trip to  Bridgeport. Arriving in the town and seeing its empty
business area (empty because it  was a Sunday and empty because many
buildings were for rent or sale), I couldn’t help but think that the 
cardboard filled windows were telling us that the whole  town is 
empty.  We wandered a while, visiting the Barnum Museum and then
a local watering  hole, Murphy’s Law, where a new member of our
meet-up group joined us.  After grilling Nachiket unmercifully for  hours
on all things Bob (not really, but of course, Bob was the topic of 
conversation), we made our way to the show.  I got in during Amos Lee’s
opening  number.  I’d seen him once before  opening for Bob.  He had a
more  acoustic sound at the earlier show.  Now he has a bigger band
backing him up.  I enjoyed his set, which isn’t always  the case with an
opening act.  After  his set, I met up with fellow Bobster John and his
son Dylan.  We’ve traded shows but never met; so we  took a few minutes
to chat between sets.  It’s always great to extend my circle of Dylan
fan friends.  Then it was on to Elvis Costello.  I enjoyed his set,
although I thought he did a bit too much  sermonizing/preaching.  I feel
that  if a musician wants to make a point about whatever issue matters to
him or her,  he or she should do so in song.  Making mini-sermons strikes
me as pandering to the audience to receive  cheap applause.  And if you
are an  opening act or special guest, I think in general you should keep
quiet except  for the music you play.  As for the  music he played, it was
quite enjoyable. As good as the supporting acts were, the real enjoyment
began when Bob  took to the stage shortly before 9  p.m.  He was dressed
in  black, as usual, and he had on a cowboy hat, as usual.  I don't know
if the band were in  matching outfits, and it’s not something I feel the
need to report anyway.  What was important happened not because  of
matching suits but because of the unmatched ability and cohesiveness of
Bob’s  ‘cowboy band.’ I was waiting for "Fanfare for the Common Man"
or at least the usual  "Hoe-down" introduction, but instead, the lights
went down and Bob and the boys  took to the stage to different music. 
After the usual introduction about the born-again, almost has-been, drug 
addicted poet laureate voice of a generation and Columbia recording
artist, Bob  got down to business with "Leopard-Skin Pill-Box Hat."  This
was a welcome change for me, having  seen him open with "Cat’ s in the
Well" five out of the last six show’s I’ve  seen, and it started the
night off on the right foot. Vocally, Bob was sounding powerful. 
Musically, he was sounding a bit adventurous, taking some guitar solos 
himself and letting the band loose more than usual. I won’t give a play
by play, but I do want to touch upon a few  performances of the evening.  
"You’re A Big Girl Now" was a welcome surprise and beautifully  played. 
His harp rang out tenderly,  too.  In a recent review I wrote  about this
next song and how, while well-played, it doesn’t do anything for  me. 
If my memory serves me well, I  questioned why is it included in the set
list?  Tonight, however, I will only comment on  the amazing delivery of
"’Til I Fell In Love With You."  Bob did a great job with the vocals on 
this one, holding notes, playing with the structure, and having a good
time with  it all.  I particularly enjoyed how  he stretched the
‘with’ in the last line of the song.  It wasn’t simply ‘til I fell
in love  with you;’ it was ‘,’ punctuating the line
before punctuating  the song with some great harp work.  I’d have to
listen to the show, but I think that may have been the best  harp work of
the night. Other standout performances for me were a rollicking good time
through  "Summer Days," where the band was let off their leashes a bit, or
at least the  tether wasn’t pulled so tight, a beautiful "I Shall Be
Released," with more  amazing harp work, and the show closer, "Like A
Rolling Stone."  While I enjoy "All Along the  Watchtower," "Like A
Rolling Stone" works better for me as the closing  song.  And Bob’s
voice was clear and  powerful throughout, driving home the ‘how does it
feel’ each verse. Of the sixteen songs performed tonight, nine were from
the last three  albums.  It is great to see Bob at  peace with his past,
giving us some of the masterpieces that first turned us on  to his genius,
and at the same time celebrating his newer work, giving us some  amazing
newer masterpieces, including some evolutionary renditions of "Modern 
Times" songs (you can hear them growing, changing, evolving with every 
performance).  And while it is  always a treat to hear these "Modern
Times" songs, and while I don’t want to be  an ingrate, and while I feel
that beggars (and Bobsters) shouldn’t be choosers,  my one issue with
the show was the inclusion of three very similar "Modern  Times" songs in
the set.  As much as  I love to hear "Workingman’s Blues # 2," "When the
Deal Goes Down," and "Spirit  On the Water," they all have the same feel
to me and evoke the same  mood.  I would love to hear one of  these songs
nightly,— they are great reminders of Bob’s continuing 
lyrical/musical abilities—but I think one of the three would suffice. 
That’s my opinion anyway.  I could be right or wrong.  Don’t get me
wrong, I think the show was  excellent, and if he had freed up those spots
and included another couple  ‘surprises,’ I think the show would have
gone from excellent to superb, maybe  even sublime.  I try to enjoy the 
show for what it is and not let what I wish he’d play get in the way of
that  enjoyment, but there are always songs from my ‘wish list’ that I
hope and pray  Bob would play. The songs Bob chose to play were played
with great energy, making for an  excellent show in Bridgeport.  If this
is the last show I see this  year, I will be well-satisfied but never
fully sated.  If Bob adds some  New York area shows, I will be  greatly
appreciative and quite happy, but still not fully sated. 
 I can’t get enough of Bob, and I already  can’t wait until the next
opportunity arises where he will grace the stage with  his presence and us
with his genius. If you get the chance to see Bob this tour, take it.  You
will neither regret it nor soon  forget it.

If you have any comments or just like to talk ‘Bob,’ get in touch with me at

Keep On Keepin’ On
Brian J. Slattery 


Review by Dave Klein

Just to give some background on my perspective, I've been a big fan of
Dylan's for many years, but I'm not one of those fans who's been around
forever, attended multiple concerts, and knows his songs and mannerisms
and likes and dislikes backwards and forwards.  I grew up around the
corner from Cafe Wha? in the Village, and I'm 36 years old.  I've played
keyboards recreationally (including many Dylan tunes) for about 25 years
or so.  So my review is from the perspective of a fellow Village resident,
keyboardist, and loyal fan.

My wife and I took the train up to Bridgeport from NYC, and were
disappointed to experience the 15-20 minute lineup to get into the arena
due to the metal detector sweep at the door.  We live in Canada, and we
don't have that kind of security for the most part--we recently saw Van
Morrison in Edmonton at the Rexall Place arena, and we waltzed right in. 
Maybe that just says something about who "The Man" feels is more likely to
be the target of an assassination attempt.  Anyway, it was annoying and
felt slightly ridiculous.

Once inside, we took our seats in section 107 row J, directly to the side
of the stage.  Probably close to being the best seats in the house to see
Dylan--not very far away, raised up a bit.  A vast improvement on my last
experience seeing Dylan--sitting by the bar in the back of The Supper Club
for the free concert he gave in the 90's, where I had a great view of his
hat but nothing else.  The speakers in the arena were aimed just to our
left, but we were pretty close to being directly in their path, which I
suspect had something to do with our experience of the show--more on that

As for the songs--I'll mostly speak generally here.  Now, I'm not
expecting Dylan to sound like he did in 1963 or anything like that.  And
to some extent, I don't even expect anything from his voice at all.  I'll
just say that I couldn't make out the words he was saying about 80% of the
time--and I knew the lyrics to most of the songs by heart.  His voice was
completely on key, in total control, and had some magical moments (I
second Jason Polanski's earlier comments about Dylan's
"...wiiiiiiiiiiiiith you" performance....amazing to hear the warble!). 
However, his voice also sounded clipped and gravelly, as if he were
spitting out the lyrics most of the time--I just couldn't make out what he
was saying, despite hanging on every word for dear life with my ears.  I
wonder if the tour is starting to take a toll...I can't imagine how his
voice holds up at all under the strain of touring.

Then again, it may have had a lot to do with the sound mix, which, as Jack
mentioned in a review here, seemed to leave a lot to be desired.  Arenas
are crummy venues for music to begin with, and my placement pretty much
right in front of the speakers didn't bode well.  However, it seemed to me
that the sound mix was really off.  The few times Dylan stepped back from
the mic a little bit, I was able to hear him much clearer.  The rest of
the time, the vocals volume seemed way too high, to the point where it was
distorting his voice in a bad way.  I could barely hear his keyboard at
all.  The kick drum and bass sounded like they were miked way too high as
well--the lead guitar sounded like it was fighting for its life against a
thumping rhythm section.  I don't know--this is all subjective obviously,
and maybe had more to do with our seat locations, but I sure wished they'd
turn it down just a bit--and normally I love to hear music jacked up loud.
 Many times it sounded like a pure wall of sound, hard to differentiate
any instruments out of it.

Anyway, despite the sound issues, it was a thoroughly enjoyable
experience.  Wonderful performance by the entire band on "It Ain't Me,
Babe" (and Dylan's whimsical lyric delivery was hilarious on that one!) 
Some beautiful and poignant moments--I got chills listening to him sing
the line, "...the world has gone black before my eyes."  It sure has, Bob.
 And my favourite performance of the night was I Shall Be Released. 
Simply brilliant and hair-raising take on that one by the whole band.  The
drummer (George Recile), by the by, was absolutely terrific (aside from
the aforementioned kick drum volume, which wasn't his fault).

And honestly, in the end, I didn't care about not being able to make out
Dylan's was simply incredible to see this amazing living
legend, probably the last time I'll ever see him perform.  My wife felt
the same way.  Cheers to you, Bob, from one Villager to another.

Odds and ends: 
-- A kind of sad note--my wife went to the restroom after the concert
ended, and when she got out, she overheard a lady saying, "This is the
last time I'm ever paying to see a Dylan concert."  All I could think was,
what did she expect?

-- The middle-aged couple next to us sat in complete silence the whole
night, and barely moved, except the woman slightly tapped her foot to a
couple of songs.  That has got to be the weirdest thing I've ever seen at
a rock concert.  

-- As the concert went along, more and more people seemed to leave.  I got
the feeling they were expecting better vocals or sound--most of them had
pretty unhappy looks on their faces.  The two women in front of us were
there for Amos Lee and Elvis Costello, but then left three songs into
Dylan's set.

-- They need to make concerts like hockey games and prevent people from
coming back to their seats after a food run if a song's in progress.  Very
distracting to have the band doing a quiet, intense song, and in the midst
of it people are getting back into seats, standing around trying to figure
out if their tickets are correct, etc.  Not the greatest concert etiquette
I've ever seen in my life, let's put it that way (and that includes the
four very drunk young fellows behind us who talked loudly to each other
throughout most of the last four songs in the set.  I could hear their
voices above Highway 61, if you can believe that!)

-- Amos Lee--good performance, but again the sound mix seemed bad--just a
huge loud wall of sound, overmiked lead vocals.  Elvis--absolutely
terrific, and funny too.  Would've loved to hear him introduce Dylan
though, rather than hearing some canned announcer.

Dave Klein


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