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    Bob Dylan 10th Australian Tour - 2014 - Isis magazine review

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    32 Ansichten11 Seiten

    Bob Dylan - 2014 Australian Tour - Isis Review

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    shotofbob
    Bob Dylan 10th Australian Tour - 2014 - Isis magazine review

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    © All Rights Reserved
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    Bob Dylan's 10th Australian tour was announced on May 24, ‘coinciding with the man’s Tard birthday. Initially, nine concert dates wore released with extres then being progressively added as shows sold out. In the end, Bob played 16 shows across six citios ~ Porth, Melbourne, Brisbane, Canberra, Adelaide and Sydney. ‘The gift for Australian fans this time was Bob being booked to play in much smaller venues than he’s played here since 1992 (except for in Adelaide). The catch though, to see Bob in decent venue down under was an exorbitant general ticket price of AUS199, malking these shows comparatively the most expensive Dylan concerts anywhere in the world in recent times (see table at the ond of this article) ‘The Australian shows were book-ended by concerts in ‘Novr Zealand, just like on the 2007 tour. We were told, by a ‘seemingly reliable source, that this unusual scheduling was ‘because Bob's private jot wasn't allowed to land in Australia due to airport noise regulations and that he left his plane in. Now Zealand and borrowed film-maker Peter Jackson's jet to criss-cross Australia. This however seems to be incorrect Decause we have since seen photos of Dylan's Gulfstream 4 jetin Perth, Melbourne and Brisbane! ‘As has been standard since the 2013 European tour, each ‘show was divided by an interval with the set lists marking ‘the first half as Act 1 and the second as Act 2. The beginning of each show was signalled by the sound of a pre-recorded gong being struck thuee times (replacing the three tone NBC chime that was debuted in Tokyo on April 7, 2014), then Stu Kimball playing his now standard guitar intro in the dark. & Circling Around in the Southern Zone ) oo 6 by Zac Dadic Of the 16 Australian shows, all but one featured the exact- samo 19-song set-list. With fourteen of those songs being from the ‘Modern Bob’ era that dawned with 1997's “Time (Out Of Mind” alloum, it's clear that the ‘don’t look back’ philosophy remains central. The pacing of ‘The Set' as it has, become known, and how the songs are structured together made for very impressive performances across Australia. All of the songs contributed something to the whole, but the inclusion of the reworked ‘Workingman’s Blues #2' and ‘each of the six “Tempest” tracks were particular highlights ‘throughout. Only the second concert in Brisbane saw Bob test the band and reward the tourfollowers with some different songs. Repeating ‘The Set’ may have been a disappointment for some who travelled to see multiple shows, but the consensus among fans was that Bob's dedicated focus on these 19 songs lead to mach improved performances in 2014 over what has ‘been witnessed here for most ofthe past decade. And in spite of the sameness, there was invariably something new to hear from night to night: Bob’s singing was always in the moment, inventive end nuanced; Charlie Sexton seemed to never repeat a guitar solo or lick: and interestingly, several tracks ‘evolved musically during the tour (see ‘Everything Changes’ for a run down of these moments). ‘All 16 shows saw Bob alternating his performances from both centre-stage and the grand piano stage-right, just as he's done for the past two years. The setup of four microphones at centre-stage that began on the 2014 European summer tour romained in Austalia. Bob only ever sang into one of these and it seemed clear that the other three were there to obscure his face from general view and any prying cameras! Watching Bob behind these microphones gave the appearance of prisoner trapped behind bars, but he actually appeared happier and more relaxed on stage than on previous tours here. Meanwhile, the lighting was dark and then got darker, with generally only a minimalist back or side-lit glow being used. Combined, these staging elements continued Bob's many deliberate efforts to remain a man hiding in plain sight. ‘The crowd rosponses and pross reviews throughout the our were overwhelmingly positive, signalling that Bob's particularly strong form that commenced with the 2013 European tour has continued well into 2014. It was certainly the best Australian tour since 2001, withthe visits in 2003, 2007 and 2011 all being of a much lower performance standard than where Bob is at today. The smaller, more compatible ‘venues no doubt played a significant part in the success of this tour, but the biggest factor was Bob's consistently strong and passionate singing, and the band's sympathetic backing. Reports of the Australian shows from each city are presented below from the perspectives of various fans ~ from the most passionate Bob followers to casual attendees who saw just fone concert. Judi Kenneally and Ian Lovell have worked in the Melbourne ‘music scene for decades and are long-time Bob fanatics. Together they saw all of the shows in Perth, Melbourne, Brisbane and Sydnoy (14 of the tour’ total 16 concerts) and along the way, ran an online fan page of the tour, posting videos of concertgoers’ reactions to the shows. This served to both promote the tour in progress and also document the raw enthusiasm of fans, including many local musicians, straight after they had seen Bob, ‘The three Perth shows wore thoir first experience in seeing Bob play his current “Tempest”-heavy set. “I thought that the Perth shows were extraordinary,” said Ian. “I remember clearly thinking that ‘this is insane, this is off the planet, off the scale’. Those first three shows in Perth will live with me forever bocauso I heard the master. Id heard a couple of, live recordings from the Europe and Japan tours, love them, ‘but hearing and seeing this show live is extraordinary. [don't think I ever recaptured the pure feeling of ecstasy of seeing itfor the first time in Perth," he said. ‘While in Perth, itis rumoured that Bob bought a white electric guitar that he thon played at sound checks. Certainly an instrument fitting that description, as well as an acoustic guitar and amp, were each set up for Bob in front of the drume each night, though he didn’t touch them and the electric ‘guitar was sometimes removed during the intermission. After three consecutive nights at Perth's 2,600 capacity Riverside Theatre, Bob and the band had two nights off, then played four consecutive nights at Melbourne's beautiful 2,836 capacity Palais Theatre. This venue was opened in 1927 18 acinema and has served as one of the city's iconic cultural ‘spaces ever since. In April 1992, Bob played six shows there, with the second ono, on April 2 featuring the first live performance of ‘Idiot Wind’ since 1976. There were no such set-list surprises this time. ‘Melbourne fan, Mende Jovesii, has seen shows from each tour in his home-town since 1998 ~ starting with the legendary Mercury Lounge club show that opened the 1998 Australian ‘tour. Mende this time saw the first and third concerts at tho Palais and said that Bob had found his mojo again. "The shows were way better than the last two Australian tours, ‘The highlights were that his voice was higher up in the mix 7a and sounded better, plus having a real piano, instead of that toy keyboard that he bought from K-Mart!" Monde ¢aid the ‘Melbourne crowds this time were great. "Some people on the last tour walked out after about four or five songs in disgust.” Judi Kenneally said,"T was amazed how well his voice was at the fourth Melbourne show because it was the fourth night in a row, Playing the same songs, gives the band range to play around with the arrangements in a more unified way. ‘The band looked like they were having a ball;they all locked. like they were having a great time on stage. A lot of the time when Bob turned around (after a song finished), he had a big grin om his face. He doesn't show itto the audience, but to the and. Then held stand at the piano and take it in and go ‘this is pretty cool ‘The Melbourne run marked the first seven shows in Australia all having the same setlists. On ser people's reactions | to this, Ian Lovell NES KAVE GUNEED (ir) said, "So many | — 2SHE BELONGS TOME A) people kept taking | 3 seq) to us about, ‘Is he going to change the set?” And I ended ‘WHAT 6000 AM) / WoRKNHANS 'SIWAITNG Foe Yau @c7F) up not wanting to answer that, |< cumesewus because I didn't mer, want to engage | PAYNELO0 Ben ‘with ther, Because they don't ask to start with "Hour was it?" They only want to know, ‘Did he change the set? So many people hhave this thing that if he doesn't change the set, that is going to be pretty boring after one show and I just said, ‘T don't A TANGLED (C) 9 LOVESICK Bn) Lc ree 4) want to talk to you, 1] — 2sweLenwisray don'twanttotalktoyou | atall. How about Inever FARLY ROMAN KINGS 6) speak to you again for | 4 FORETFLL KENT Gn) the rest of my life?” 5 SPI (An) 6 SCARLET TOWN Cn) 1.SOON AFTER MiNIGHT (ps) BLING s WASTED veans After Melbourne, there were three nights off before Bob headed north to Brisbane for hia first shows there since 2007. All his previous Brisbane gigs from 1992 onwards had been held at the horrendous Brisbane Entertainment Centre, @ soulless 10,000 seat concrete box built on a swamp on the city’s far northern outskirts. Thankfully, local Brisbane fans ‘were this time treated to seeing him play two shows in much. smaller and contrally located venues. ‘long-time Bob fan from Russia, who is known to many online as ‘Nellie lew in from St. Petersburg to catch both of these Brisbane shows. Nellie said that she was not game to count the number of Bob shows that she's sean across Europe, the US, Australia and Japan, and thought that the first Brisbane 30 show on August 25 at the Convention & Exhibition Centre ‘wad all class. "The sound was fantastic, Bob was in a great mood, smiling, dancing, some mind-blowing harp, some of the best singing in years, and when he sat down at the piano, he svrung his left leg out Jerry Lee Lewis style and played like ‘a genius. A near perfect performance of The Set” (ISME ComEATION COMME ‘Sour Ba ‘hope Coter aiement, ABC 4, Spotty tnd RAT Prevent BOB DYLAN Pertoces Th Entire Show :00pe Non 25 hug 2016 Brisbane resident Kevin Nolan, who was also there, last saw Bob play in 1986, at the nearby Lang Park football stadium. Commenting on this 2014 concert, ho said, “The sound for the whole show was excellent. All the band were present and crisp and owned their own pioce of the stage in their own right. No one outshone any one, even Dylan held his place not allovring the man to be greater than the show as he ‘switched from standing behind the mikes to sing or deliver devastating harmonica breaks to taking up residence behind the baby grand which seemed to be tastefully levelled up just a bit higher than the rest for sound. Again a raze chance to enjoy Dylan's sumptuous relationship with the ivories. The lighting for the show if not dim was certainly subdued. We ‘knevr it was Dylan but more from his presence than facial recognition. Howover, toward the end of shovr the lights were turned right up for ‘Long And Wasted Years’ and we were left to take in as much of the juggernaut on stage as we wanted to, and drink it in we did. There was a perceptible rise in the audience as suddenly all before them was revealed.” ‘Two nights later, on August 27, Bob and the band played at a smaller, club-sizo venue in Brisbane called The Tivoli, The show in front of 1,500 people, was officially announced just 10 days beforehand with tickets then going on sale on August 19. It was undoubtedly the highlight of the whole tour, The show was added late in the game due to the unusually large number of days off that fel either side of the initial Brisbane concert.The promoter’ original plans were to hold five shows at Melbourne's Palais Theatre and then two at Brisbane's 4,000-seat Convention & Exhibition Centre. However, the final shows at each of these venues wore never added because the fourth Melbourne show failed to sell out and the first one in Brisbane didn't sell until a few weeks before the date. ‘As a result, prior to the Tivoli show being added, the schedule showed three days off after the last Melbourne show, then another three days off after Brisbane. Playing just one show in the seven days from August 22-28 made little senso, and it ‘seemed inovitablo that something extra would be added to fill the gap. At frst, a club show in Melbourne was discussed but there were no suitable venues and adding another show in Melbourne would have hampered efforts to shift the seats remaining for the fourth Palais Theatre shour in the city. So attention was turned to filling the Brisbane gap. It is thought that Bob doosn't like having many days off while on the road and his concert scheduling history backs this up. From the 1974 tour onwards, there have only been. 14 occasions where Bob has had three or more consecutive days off between shows. Six of these mini-breaks involved travelling large distances between shows in different countries and even different continents. Another gap st occurred inadvertently during the Canadian shows in April 1997, when the touring equipment was left stranded by bad ‘weather, causing two shows to be delayed and rescheduled. The weather was mostly fine during Bob's extended stay in Brisbane and by coincidence,afellow guest in hishotel during this time was Lady Gaga, who played in the Queensland capital on August 26. Sadly, there were no reports of Bob and Gaga being seen about town together, though one surprise ‘on the morning of the Tivoli show was the announcement of the upcoming “Basement Tapes” box release. TAEnVen mg Enron Tink ons Abe Preset ‘Tickets to the Twwoli show were priced at just AUS89 (less than half the standard price for all other shows) and not surprisingly were snapped up in minutes, A number of interstate and oven international fans flew in to Brisbane after securing a spot. The line-up at the venue's door began at 4am on the day of the show with a healthy queue having formed bby breakfast, This was the only general-admission show of ‘the tour, so those willing to wait the longest had the best shots at securing prime rail positions at the front of the stage. Being, the smallest venue that Bob has played since the Stockholm club show at Borns Salonger that opened the 2009 touring year, this was for some an opportunity not to be passed up. The Tivoli is a beautiful Art-Deco style club with exposed ‘wooden beam interiors. It has been the live music venue of choice in Brisbane for many years, but even the most ‘optimistic of local fans could never have dreamed that they ‘would one day got to soe Bob grace this stage. For some who ‘were there, itis still hard to comprehend. The doors opened. at Tpm and the crovrd mix was clearly much younger than the standard Australian Bob audience. Whereas around three- quarters of his erovrds would narmally be aged 60 and over, at the Tivoli around half looked to be aged under 40.No doubt ‘many of them were seeing their first Bob show ~ and what a cracker of a gig it was to welcome them to the fold. ‘The first half was the standard set, delivered as solidly as at any of the Australian shows. However, what made this different from the start was the more excited and responsive crowd, in particular those near the front, After the intermission, the banjo intro to ‘High Water’ signalled that the Tivoli was 4going to turn out to be another performance of "The Set’ ~ but how wrong that was. What happened next became the talking point of the whole tour and the jolt of excitement that any jaded set-list watchers needed. First off, the crowd really responded to the stomp of ‘High Water’, most likely those that were hearing it for the first ime. At its conclusion, Donnie appeared to play the pedal steel lick that would lead. {into ‘Simple Twist Of Fate’, uta fevr quick words in the dark from Bob to the band preceded Stu picking out the acoustic ‘opening chords to ‘Girl From Tho North Country’. When Bob, standing centre-stage, sang the first line ~ still ‘mostly in the dark ~ the emotional reaction was palpable, Joy, ecstasy, relief and then a focus on taking in the incredible performance, Bob's hushed vocals wore mesmerising, The band held right off with Tony on bowed double bass, George on brushes, Charlie and Dennie playing minimal notes and Stu's slow acoustic picking backing Bob. It was grown man cry stuff; grown woman crying stuff too, This performance was in the same style as was played on the recent summer European tour, but instead of being sang to an outdoors {estival crowd, this incredible, sparse reading of ‘Girl From The North Country’ was able to fill the Tivoli to bursting point and not lose a drop. A-massive roar from the crowd met the final notes and Bob then had another discussion with the band on his way to the piano, Next up was the slowly swinging smokey jazz- den version of ‘Cry a While’ with Bob crooning the vocals. Whatever is going on with the rumoured “Shadows In The Night” album, it seems that something has inspired Bob to reinterpret some of his own material in a Sinatra style. Again the crowd loved it. Bob then moved back to centre stage for an acoustic, ballad- style version of ‘Tweedle Dee & Tweedlo Dum’. A brilliant reworking with descending chords and again, those crooning vocals, Noxt up was a rousing, rocking version of ‘Lonesome Day Blues’ with Bob back at the baby grand. The crowd really responded throughout this song, cheering alter Charlie's solo and then in particular alter the ‘Speaketo tho crowd’ lines, Midway through the song, a roadie came on stage and placed ‘page on the piano in front of Bob while he was playing, This ‘could only have happened because Bob had asked during a previous song break for some forgotten lyries to be found. From the moment this show was announced, there was an instant buzz that Bob would play different songs at The Tivoli and treat it lik one of the European festival shows, Of course we will never know what his intentions were at the start of the show, but the sound crew were working from a printed song list of ‘The Set’ and during the second half, the side-of-stage crew were radioing to the mixing desk guys what the next ‘song was going to be. So there must have been an element of spontaneity to what was being played. It certainly looked like Bob's post-song huddles and discussions were tolet the bana Jenow what was coming next. And what came next from that hastily delivered page was both breath-laking and mind blowing: a stunning, dare it be said, definitive version of ‘Tryin’ To Get To Heaven’, Bob's vocals were tender, fragile, controlled yet always at the edge of breaking. His piano playing, just holding a few soft chords and the band proving their worth with another exemplary gorgeous backing, In one song, Bob gave us everything that our hearts wore longing for, Im the moment, it was clearly the best live Bob performance 4m years. Listening back to a recording on repeat, it just gets better and better. More beautiful, more cracked, moze stunning. The fourth verse in particular, at the line, “I don't know what all right’ even means", showed Bab singing with a deep emotional power that is rarely revealed. The refrain line of, “Tryin'to get to heaven before they close the door," was sung in an upper register that took the close of each verse to a complotely now level of heart-wrenching astonishment. Everyone knew that something was happening. twas the first performance of this song since November 18, 2012 in Boston and again a completely different version from its previous incarnations. What else in this vein is Bob holding up his sleeve? ‘To recover from the version of ‘Tryin’ To Get To Heaven’, everyone, in particular Bob, needed a break and to temporarily take the show down a level so it was no surprise that he stayed seated at the piano and rolled into ‘Thunder On The Mountain’. This version became an extended jam, ‘with Bob playing lots of piano chope and then signalling Charlie to duel with him. The crowd loved the interplay and the spontaneity of it ll. Ir's purpose though, was surely to put things in cruise control until the next high. ‘This came via Bob's return to contro-stage and a slowed, growling ‘Ballad Of a Thin Man’. The crowd went berserk again. There was lots of harmonica and then they were off. End of second set. Start of, What the hell have we just experienced?” thoughts from those who'd thought they'd soon it all. ‘The standard encores of ‘All Along The Watchtower’ and ‘Blowin’ In The Wind’ followed, delivered with intensity and ‘care. There would be no throwaway ending here, Afterwards, many in the crowd were speechless. Those who'd waited all day were vindicated. Those who had dropped everything 10 be there praised their choices. Those of us who call Brisbane home and think that nothing much exciting ever happens here, now have a story to tell our children, Some attendees may also have a tale for their grandchildren too. Merchandise stand at Tivoli ISIS subsoriber and sometime contributor, Andrew Kershayr, made his way from Tokyo to Brisbane to see The Tivoli ‘concert. His thoughts on the show and ome other significant ‘events of that day are included below. “I boarded a plane in the darkening dusk at Nazita airport in Tokyo on Tuesday, August 26. Some time after ignoring instructions to switeh off devices, my son Alex emailed from England to say he'd just becomea dad; the end oftime had just begun for Sieg Rafferty, no less. Next morning, dawn broke a2 ‘we approached Australia and the Gold Coast airport, hough little did 1 know that in my mind's eye the sun will never set ‘on that night's show at The Tivoli, 80 kilometres up the road in Brisbane. At such an old club-style venue, the 5ist of Bob's 90 shows scheduled for 2014 was always going to be a prime event-Dut 32 ‘what transpized amid that Art Nouveau ambiance was simply sublime. Strangoly, indeed, as the last notes of ‘Blowin’ In The Wind! carried avray into the cosmos, stood there mutely with glistening eyes among some 1,500 others ecstatic and wed to have experienced Modern Bob live before us at the pinnacle of his post-Song & Dance Man powers, Personally, I knew I hadn't been in the presence of such greatness since the three shows at the Brixton Academy in South London in March 1998, Surprisingly, at the first of those shows, which I went to with a young teenage Alex, Bob played four songs - ‘Watchtower’, ‘Tangled Up In Blue’, ‘She Belongs To Me" and ‘Ballad Of a Thin Man’ ~ that made the cut at The Tivoli, too. Then on the last night of those three shows 19 years ago, ‘Waichfower' alone remained as alink to ‘The Tivoli - along with Nobuko, now my wonderful Japanese ‘wife whose love affair with Bob started back then. Oh yes, what a long road its been with Bob, one that goos back 30 years before Brixton, in fact. But in all the countless shows on four continents, can’t zacall one that in its entirety approached the wrenching, soaring, rocking, rolling, swampy, sweet and utterly soulful performance that Bob and his brothers in art in the band delivered at The Tivoli, ‘That night's standout among a long list of standouts was, for this fan, ‘Trying To Get To Heaven’, which Bob somehow channelled from 2 realm of divine and poetic musicality down to us mere mortals behind whom the doors of The Tivoli hhad closed that night.” After Brisbane, Bob travelled south to Canberra, for a single show in the nation’s capital on August 29, Narelle Hoploy, is a well-known member of Sydney's Dylan community and travelled to see 11 concerts on this Australian tour. She said ‘that ~ aftor The Tivoli - Canberra was probably the best. “That was a particularly good show out of all of thom,” said Narelle, “Wetching the four Melbourne shows, I thought “these are getting better every night’. Then in Canberra, | don't know if it was still the energy left from The Tivoli, but there was a higher level of excitement there from the hard, Bob's performance and everything. Bob seemed to be enjoying himself in Canberra. People were getting up and giving standing ovations throughout and that alvrays seems to improve a show. Bob likes to get appreciated understandably and it zeflects on the band and they enjoy it too." Jason Weeks recently moved from Melbourne to Canberra and while an avid concert goer and music fan, this was his first Bob show. Jason noted that few international touring acts ‘ever go to Canberra, and most Australian bands skip playing there too. Pethaps for this reason, the locals starved of live music were enthusiastic to be seeing Bob in their town for just his third-over show there. Jason really enjoyed the show and said he would be keen to see Bob again, "Bob live is more about the music than the spectacle, its more about the songs.” An Adelaido resident and long-time music aficionado who goes by the name of ‘odzgolfball’, was impressed with what he saw at Bob's next concort that was held in there on August 31."This show revived my faith in Dylan being able to deliver purposefully and effectively,” said ‘godagolfball’- who very kindly taped and shared his recording of the Adelaide show, {as he has done for previous Dylan concerts in the City of Churches, Ho also provided the following thoughts for ISIS, “Bob was surrounded by a posse of four older design mikes heruning hin in, casting deliberate deep shadows all over his face and preity much making him unseeable. But there was an upside = those mikes picked up the vocals beautifully and Bobby ‘was in fine voice. Deeper, still gravelly, zeally on song. When. he and the band finally were illuminated sufficiently for us to ee their faces at the end of the show, it was nice to see the strength in Dylan when he looked directly at the audience and scanned them deliberately; as he has done the last few times Ihave soon him. He nodded briefly, acknowledging the applause, knowing that tonight he really did deserve it" Another Adelaide fan, Harry Lesko, first saw Bob play in 1978 fat Adelaide Football Park, and has seen many Australian shows since. He said that the verue in Adelaide was large, with a capacity of over 9,000, but that there were only around 4,000 people there. Consequently, ticket prices for the romaining rear seats wore reduced to $59 dollars a few ‘weeks before the show. Harry said, “I was in the second row from the front, a fantastic seat, and could see his expressions. You could see that he really enjoyed himself and the band vas a lot more relaxed as wall” After Adelaide, Bob and the band travelled to Sydney where they played five shows ~ the first three at the grandly opulent State Theatro, and the next two at the Sydney Opera House's Concert Hall ‘The lure of seeing these five concerts in Sydney was enough for Peter G, from London to make the 24-hour flight down, under, Peter first saw Bob play at Earls Court, London in 1978 and has seen numerous shows since then in England and also Australia. Peter explained, “I have many relatives in Sydney ‘and obviously itis very expensive to visit them on a regular bbasis. But, | have boon lucky enough to combine visiting my family with when Bob is in town.” Peter's travels have meant that he was able to see shows on the Australian 1998, 2011 and now 2014 tours, 33 “learnt in 2011 that ticket prices wore high in Australia, but this time they were even higher - $200 at the state and $250 at the Opera House. Five shows, same setlist every night, but for ‘me still worth every penny,” Peter said. On the final night at the Opera House, Peter met Charlie Sexton at the venue entrance and had the following exchange, “He kindly agreed to sign my ticket and I askod him if Bob would let him loose tonight? Chaulie replied, ‘Bob lets me loose every night! Noted Australian music journalist and Bob fan, Stuart Coupe, attended two of these Sydney shows, one at each venue on September 4 and 9 respectively. Speaking to ISIS afterwards, he said, “I was surprised at the consistency of the performance. lwas astonished at how well Dylan was singing, how engaged he seemed and that he was visibly enjoying himself. The fact that they were the same songs each night, [could have happily gone and seen them a third or fourth time and not folt any sense that this is boring’. If anything, 1 enjoyed it musically the second time more than the first. The band obviously know those songs incredibly well and there was this languid, delightful feel to it. One of the things ‘that struck me was that his enunciation was really great - and the engagement, he was very much there and totally in the ‘moment of doing these shows. I thoroughly enjoyed them ‘Stuart compared his very positive experience this time with 22 years ago when Bob last played at the State Theatre in Sydney. On that tour, Coupe had tickets to each of the seven shows there but famously walked out halfway through the opening night and didn't return. "The contrast between 2014 and 1992 couldn’ have been greater, given it was the ‘same location,” he said. In ‘92 he seemed so removed and 0 unengaged and really just going through the motions of doing a show. He scemed in bad shape. I've seen thousands of shows, and it takes a lot for me to walk out on someon ‘will stay to the bitter ond. But for Bob to have such flagrant distegard for the audience (back in 1992) I thought, ‘you don’t have to this," remembered Coupe. After walking out, Coupe gave avray his tickets for the remaining six Sydney shows and didn't see Bob live again for years ‘The five shows in Sydney were all really strong and, if anything, got better each night. While the crowd remained seated throughout on the first night, at the opening notes of ‘Long And Wasted Years’ on the second night, there was a large stage Tush. Half of the crowd seated on tho floor section scemed to spontaneously get up and flock down the aisles to the front of the stage. The people just took over, ‘wrth venue security not oven attempting to intervene. That mass-movement forward must have startled Bob initially, and hhis personal security quickly came and stood on the front comer edge of the stage. But Bob really didn't miss a beat and it was soon obvious that the crowd only wanted to show appreciation, not cause any harm. ‘The following night, a crowd-rush occurred again at the exact same point of the show. On this occasion though, a drunken couple who had made it to the front of the stage were each blatantly filming Bob with their phones. Bob's security guard, Baron, quickly crouched in front of them warning that they had to stop filming. When they ignored this, he returned and began yelling, “Its about respect, respect for Bob. Respect Bob and stop filming.” But the couple continued filming, and Baron returned a third time, swooping like a hawk actoss the stage and snatching the man's phone without him realising. When the drunk guy noticed that his phone was no longer in his hand, he assumed someone behind must have taken it, then turned and began punching the woman behind hima in the face as Bob sang ‘Blowin In The Wind! just a fow metres ahead. An ugly end for some to three great nights at the venerable and super-stylish State Theatre, On September 6, Bob's one night off between shows in Sydney, it was rumoured that he attended a performance of Macbeth by the Sydney Theatre Company, starring Hugo ‘Weaving, And then it was off to the Opera House, Of the last two shows, Ian Lovell said, “The Sydney Opera House was extraordinary for different reasons. He was certainly more relaxed than he'd been. It was an incredible conclusion. That was the grand finale for all grand finales.” Judi Kenneally said, “By the time he got to the Sydney Opera House he seemed to be even more relaxed; he was pulling the microphone back, rather than just holding onto it, He was getting into his performance of the songs even more, he was ‘more animated" Harry Leske travelled from Adelaide to see the Opera House: shows and said, "In Sydnoy I was seated further back and enjoyed it equally as the sound was better. The sound was fantastic, his voice was very cloar.The encore change at the second show where he played from centze stage rather than the piano, thought that was fantastic. ‘Watehtower” at the last show was one of the highlights.” Kevin Nolan travelled from Brisbane to see the final Opera House show and said, “An icon at an icon, Another reason for my delight was a totally unexpectedly mobile Dylan on stage, the self-proclaimed song-and-dance man was up there singing and dancing. His exaberance and animation was palpable. This wasn’t just a man putting on a great show; this was aman having a great time.” 34 Also attending the final Australian show was Mark Berthold, ‘who had previously seen Bob play in 1978, then in Hong Kong in 1994 and Melbourne in 2001. Alter the show, Mark said that, “Bob Dylan was still Bob Dylan ~ the one and only. More nuggoty and certainly more raspy. Still feisty and unique and incapable ofa phony word or gesture Sill utterly unique and seal. was more than happy.” In comparing this show to the three he had seen in previous decades, Mark said, "His voice has obviously greatly changed and more now that ofa blues shouter. And gone too his guitar playing but it was great to see him sprawling in front of the grand piano and even chuckling. His piano playing was inventive, as remains his harmonica playing. He seomed as self-confident as his pre-67 performances". On the omphasis of modern-era material, Mark said, “He knows his legend is assured and he would prefer to do what he enjoys, namely engaging with songs that romain fresh for him, Miles Davis and Lou Reed were similar in that regard”. Reflecting on the 11 shows that she saw, Narelle Hopley said that Bob in 2014 was better than the last several Australian tours. “He looked healthier, happier; everything was good. ‘When you see a run of shows, there'll be one night where you can toll ho's got the shits. He's there and ho's half- heartedly playing or not making an effort, and then the next show is great. For example, at the two Civic Theatre shows in ‘Auclland, New Zealand in 2007, the first one was terrible and then he came back and gave one of the best performances he's ever givon. But this tour was consistently good every night and he seemed to really enjoy himself. He seemed to bbe really happy, looked good, performed well, sang with tenderness and care, it was just beautiful.” (On the 14 shows that she saw, Judi Kenneally said, "We're incredibly lucky to be alive at a time when Bob's as good a he is now, Ho's much better than what he was threo years ago. He's much better thane was five years ago. He's almost atthe top of his game and he’s 73. He's still able to tour and wo're seeing him in small theatres, which is where he belongs, ‘There's no reason to think that he can’t keap doing this and ‘come back again, because it looks like he's having a better time now than what he was.” On his experiences seeing this tour, Ian Lovell said, “When you see multiple shows, something extraordinary happens. It’s more than just one plus one plus one. Something extra happens on top and that is. i's subconscious and conscious. It's direct and indirect, So it's hard to put a finger on what it is other than you get feelings and insights that up until then you'd only sensed, maybe in a minor way ~ they become significant. ‘You enter into a world that you're on the periphery of and that's this incredible world of the artist and the more you give, the more he gives you. The more you get of it, the more you want, simply because of the more you get out of it. Your understanding is enriched, your listening deepens, your enjoyment deepens, the songs chango, the same songs! “"You end up having to face the fact, you end up having to say, ‘Well I thought I listened’ — but you end up thinking, Fuck, 1 didn't hear nearly as much as I thought Ta heard, now I'm hearing more, Bocauso I'm in a different frame of mind by just going, I still don't think I heard all I could hear after 14 shows." “I think ite going to take timo for us to really appreciate what we've seen. [used the binoculars on Bob quite a bit and Iwas astonished at the way he'll phrase, focus, be in the song, and the moment you think he's coasting — he's not. This incredible ability to perform and sing and deliver songs, that never cease to amaze. “Here is an artist totally devoted to the skill of the song, the commitment to the song and the ability ofthe song to deliver in ts own right. I's a complete affirmation and confirmation of work. Hore is an artist at work, an artist that works before, during and after a show. When you get off after a show, then you have the next show that's coming. Does he rost on his laurels? How can he be that good again the next night if he's not committed after the show to the next one? How can you got such 2 high standard of performance night after aight after night unless i's 24/7? Lovell continued, “How many times have you won the ‘TattsLotto (Australian lottery) in the last five years? Every time you go to see Bob Dylan you win TattsLotto because you're getting to see the greatest artist of the 20th and 2st contury porform better than he ever has. And most people ccan't get their head around the fact that he's that good. Yes it’s restrained, yes, its not as far-ranging; it doosn’t have the flamboyance of ‘Like a Rolling Stone’, but it's deeper. I's ‘more considered, its more focussed, and for some of us, its everything and more. It just has everything.” At the conclusion of each show on the Australian tour, Stravinsky's ‘The Rite Of Spring’ was played as outro music, asit has been since Bob's shows in Tokyo earlier this year.The debut performance of ‘The Rite Of Spring’ in Paris in 1913, is said to have caused a riot among the audience due to its confrontational and at times cacophonous sound. This story is mentioned in the liner notes for “Bob's Bootleg Series Volume 4” release of the Manchester 1968 concert, in the context of artists not giving the audience what they wanted, Bob has largely made a career out of doing that, and to this day, continues his uncompromising approach of playing what he wants, how he wants. In Australia, the quality of his singing, his performances and his band resulted in the audiences wanting more and talking of the next tour. SYDNEY OPERA HOUSE: kok ® Concert Hall ke ke SUNDAY 7 SEPTEMBER MONDAY 8 SEPTEMBER sutneyoneranouse i rahouse.coi pee vease07m 35 Everything Changes While Bob played the same set at 18 of his 16 Australian concerts, some of these songs changod form and shape towards the end of the tour. These changes must have been ‘mitiated during the sound checks before each show, at which Bob was rumoured to have attended. Below is a quick note on what happened to which song: ‘Love Sick’~ A new middle 8 section was added after second verse, before Charlie's solo at The Tivoli concert in Brisbane on August 27. While a bit rough at that show, it was then improved on at the Canberra and Adelaide performances, before being nailed in Sydney. ‘All Along The Watchtower’ ~ At the first Sydney concert on September 3, this song was given a softer and more melodic feel through Bob's piano playing and singing. ‘Spirit On The Water’ ~ At the second Sydney concert on September 4, the second half of this song saw Donnie’s five- note descending pedal steel pattern become much more Prominent, and even the musical lead. This did not appear to cour again atthe following shows. Water (For Charlie Patton)’ — At the fourth Sydney show on September 7, some stop-start breaks were added end a different musical ending played to close the song. ‘The encore at the final Sydney Opera House concert saw Bob playing both ‘All Along The Watchtower’ and ‘Blowin’ In The Wind’ trom centre-stage as opposed to the standard deliveries from the piano. ‘Watchtower’ featured lots of harmonica breaks and a different amped-up and rawer feel. ‘Blowin’ In The Wind’ was then a whole now interpretation altogether. Gone was the lilting feel it has had for the past five ‘years and in was a jaunty, up-beat, folky delivery. Donnie still played violin but with a different emphasis and Bob's singing tock on amore crooned approach, again with a new melody. ‘The band members were smiling and laughing throughout ‘this performance. Bob too, was beaming a cheeky smile. It seemed very much a joke all around that rather than playing, 2 different song, he would play these same songs differently ‘The audience loved it too. Don’t need to be rich, or well to do? ‘comparison of Bob Dylan concert ticket prices in Australia and around the world in 2013 and 2014 Concert von, Venue Ticket price Converted o location a datas capac (onsale cate cima carentoe Foal Ae Hot a ussiae London Egan sere (14 vin 2018) ve,s00 Aust Ea Zapp DherCity aa ¥19,000 ussi2s (ln 2014 oe 21 Mary Oo 014 nee eno acon tur (ats ctes 2st0-4om | gg Ad8190 ussiee ‘3g 3 Sopra E, sydney Opera House Shy Atala 2079 nse usszss 78 Sep ta

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