October 26, 2019
Review by Stu Levitan
Another strong performance by a very animated Dylan for a very
appreciative crowd. Lights up with Dylan -- white dinner jacket, tuxedo
shirt with top button open, black slacks with white piping, white shoes
and belt -- center stage with guitar; vocals for a swampy, funky Things
Have Changed strong but a little low in the mix. Fixed in time for a
feathery Ain't Me, Babe. Stands at upright piano for a rocking Highway
61 rave-up. Piano and Donny violin (lots of it through the night), before
Bob to center stage for harp. Holds mic in right hand when singing (lots
of gesturing with his left), switches to left for harp breaks. Can't
Wait is urgent -- "I said I don't know!" -- and emotional; Bob with his
left hand up to his breast, doing a passable Sarah Bernhardt impression.
Very strong vocal. Masterpiece is sort of spoken, with the new lyrics
from last year. Not my favorite arrangement of the night, kind of plodding
with no real purpose. Not the case for Honest With Me, featuring a
really sharp break from Charlie. Bob standing at the piano, shooting
smiles and playful looks all around. Heaven with a jaunty arrangement
totally foreign to its meaning; it doesn't sound like a Yom Kippur song at
all anymore. I could swear his sang Feel My Love directly to Charlie,
standing about five feet away. Not my favorite song, but a nice
performance. Little herky-jerky dance during Pay in Blood. Seated at
piano for Lenny Bruce, for which the crowd was unusually quiet (not a
big fan of Milwaukee crowds, but last night they were pretty good) for
beautiful, committed vocal. Early Roman Kings continues (for me) to be a
highlight; great vocal, lots of left-hand gesturing. BD smile and big
cheers on "bell sting rings!" Some really nice work from Charlie. Girls
around me scream for a slow and soft North County, piano and violin.
Something about the chorus now sounds like a Broadway musical that I can't
quite place. Maybe will figure it out by the Beacon. Not Dark Yet -- at
least THIS still sounds like a Yom Kippur song. That little pause and
knowing wink before "...but it's getting there" is brutal. Drum break is
back for sing-songy Thunder, which also has some nice work from
Charlie. Midnight was a big "eh," redeemed somewhat by another nice
break from Charlie. Standing at the piano for a rocking Serve
Somebody to close main set. Back center stage, mic in right hand, for a
very slightly reworked Thin Man ("did you expect some kind of a dinner
invitation?"), with Bill's best (longest) break of the night. Standing at
piano for the very bluesy Train to Cry, with another nice break from
Charlie. No band intros. Quick bows, then heading for another joint.
Stu Levitan
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