Blues, Ballads, Broadway: Bob Dylan summarizes his previous decade at Boston's Orpheum Theatre - November 3, 2023
BOB DYLAN, ORPHEUM THEATRE, BOSTON - NOVEMBER 3,2023 (The first of three nights.)
I almost fell for it.
Last night I saw Bob Dylan and his band at the lovely old Orpheum Theatre in Boston. What was I to expect from the mercurial Nobel Prize winner, considering I had already attended two shows early on in the Rough and Rowdy Ways Tour, one in Boston, one in Providence? The set list wasn't much different this time around, although there's now a different drummer. The excitement online appeared to be the unexpected covers. Understandably, of course. So what would he surprise us with in Boston? “Charlie on the MTA”? “Dirty Water”? “Please Come to Boston” (which Club 47 alum Joan Baez covered)? “Murder Most Foul”? “Sweet Caroline”? I hated thinking like that, but, of course, I have to admit it was on my mind.
All these concerns dissipated as soon as Dylan and his band hit the stage and began playing. Even though the set list was similar to 2021, the arrangements had almost all changed. From what I could tell, it appeared that the main differences were due to Dylan taking most of the solos on piano, and never leaving it except to take his final bow (with the other band members remaining in place), and the rhythm propelled by drummer Jerry Pentecost (Old Crow Medicine Show).
The new theme of the show reminded me of the 2014 tour, which sort of felt like a play. It also seemed that Dylan was summarizing his previous decade in some ways. Which, of course, is a bit of a simplistic overreach, but hear me out.
The nine songs from Rough and Rowdy Ways felt like his true Nobel Prize acceptance speech, while some of the song choices and rewritten lyrics to older songs (“People disappearing everywhere you look,” the isolation of "You Go Your Way (And I'll Go Mine)") reflected the pandemic lockdown. Of course, some of the songs, like "False Prophet" and "Goodbye Jimmy Reed," were steeped deep in the blues.
Tulsa, the home of the Bob Dylan Center, was referenced obliquely via native son Leon Russell, with the two songs he produced in 1971- “Watching The River Flow” and “When I Paint My Masterpiece,” as well as the Leon reference in “My Own Version Of You.”
Some of the songs, most notably “Masterpiece,” had a jazzy vibe, with Dylan’s hands all over the keyboard. He also channeled two early piano pounding rock and roll pioneers, one with a Jerry Lee Lewis-style glissando, and by also spending half the night standing at the keys, positioned just like Little Richard. Dylan must love the ordained minister’s version of “Lucille,” since inverted versions of that bass line made a couple of appearances, especially during the completely rewritten “Gotta Serve Somebody,” which also featured a surf-style guitar solo from Doug Lancio (“Gotta Surf Somebody?”)
(I also saw Dylan turn a <lyrics?> sheet at one point, trivia fans.)
The “Great American Songbook” was not only represented by a cover of “That Old Black Magic,” but by the old fashioned, delicate, introductory musical bridges (sort of) added to many of the evening’s selections before they kicked into high gear. "Old Black Magic" was followed by the Grateful Dead’s “Brokedown Palace,” which was sublime, and its placement may have been a commentary that this, too, was part of the “Great American Songbook.” And people can post all the audience recordings they want on social media, but there’s nothing like seeing it live, in person.
Then there’s the possible influence of the play, Girl From The North Country. Again, thanks to Pennecost’s drumming, there was a lilt in many of the songs, giving them a bit of a Broadway vibe, which added to the energy of the evening. On first listen, I wasn’t thrilled by the arrangement of “My Own Version Of You,” feeling the ominous tone of the original version was missing, but I expect it will grow on me, like all things do. Everything else, however, was right on target.
Dylan was obviously in a good mood, and the band was cooking on all cylinders, without overpowering the music, especially Dylan’s piano playing. For the intros, Bob apparently surprised Lancio, guitarist Bob Britt, and Pentecost, asking them each to show off their chops. When Lancio’s time came (he was first), he played a (very) little something, and Bob said something dismissive and humorous like, “Is that it?” Britt and Pentecost, now primed, showed off a little bit more. Multi-instrumentalist Donnie Herron was apparently ready to go, but was never called upon. Tony Garnier, as always, was the foundation all night long.
And of course, it's always a pleasure to see Dylan enjoying himself.
So it was not the 60s Dylan we were seeing, but one with his feet planted firmly in the present, and his eyes gazing into the future, while continuing to dig up the hidden secrets of the past..
So there were no unique setlist surprises, but then again, there wasn't any need. Dylan was great, his voice was expressive as always, his piano playing the best I've seen, and his band gelled perfectly. So fare thee well, and see you all further down the road ….
(c) 2023 Harold Lepidus. Sharing excerpts on social media is OK, but please don't share the majority or entirely of the article. Thanks in advance.
