Intuition and lust: Bob Dylan in the Frankenhalle

Nuremberg – I wrote Song des Abends, as well as the first two catastrophic Bandsound recordings for a first piece performed in the form of Ganzen, singing Bob Dylan “I Contain Multitudes”. The song from the 2020 album “Rough And Rowdy Ways”, from the current tour whose name was the earliest formed, was the artist who found himself in several years older and more widely demonstrated : in his lives. Das hat der Welt ein unvergleichliches Werk beschert. Nur: You want this vielseitigkeit in this songzeile sein?

Der 83-Jährige flüstert die einen Töne, bellt bluesig die nächsten und croont auch mal zwischendurch – so weit, so vielseitig and sprunghaft. Doch an dem Abend in der Frankenhalle garniert and umspielt er fast alle Zeilen auch noch mit instrumentalen Licks and Melodien. Ob er zur Mundharmonika oder mit der rechten Hand in die Flügeltasten greift, entscheidet er offensichtlich spontaneous, and thus gehen seine Einwürfe musicalisch mal in die eine, mal in die andere Richtung.

Intuition and Lustprinzip

And the instrumental passages dominated Dylan and this Abend. Selbst als einer seiner Gitarsten bei “To Be Alone With You” mal zu zu einem zurückhaltenden Solo ansetzt, haute der Chef plötzlich akkord ins Klavier et übernimmt die Initiative wieder. Seine Solo-Passagen a ber zumeist keinen Bogen, auch hier folgt er Intuition und Lustprinzip. Often played is synkopierte Akkorde or beidhändig Dur-Melodien, also stilfern zu Blueswendungen. So he often stretches the feeling of the arrangements, and he torpedoes the sound of the sound

Schon seit den späten Neunzigern est Dylan as soloist in Erscheinung getreten, damals an der Gitarre. Some of these fresh bands – and the brilliant performers of Larry Campbell and Charlie Sexton – managed to bring out Dylan’s instrumental music in the band’s performance, with a special note, from old songs. Diesmal aber überlagert sein Spiel den Sound, zumal der Mischer seine Instrumente viel zu laut aussteuert. And the power of music is integrated without loss.

It exceeds the Bogen

We also get some unorthodox ideas from Dylan. Schon immer hielt er seine Musiker auf Trab et Spannung, indem er Songs in unerwarteten Tempi spielte oder Strophen has begun, wenn damit nicht zu rechnen war. And this Abend aber überspannt er diesen Bogen: Bei “Black Rider” had a mitt in an instrumental passage a new verse and the musician first found his music. Bei “My Own Version Of You” came from Dylan to Ende in a very big journey, so that it did not find its place. Even if “To Be Alone With You” is one of the songs, it is also a feeling that is already there. And with “Watching The River Flow”, guitarists Doug Lancio and Bob Britt had the motif of world harmony, the band had no time to play, and it gave Dylan the music of his time at the Schlussakkord – with the instrumental verse. So the neck of the band is suspended, obwohl sie Abend für Abend die exakt gleichen Stücke spielt. And these people will not have any salt in a flux.

For new Gelegenheits fans, one of the Nobel Prize winners is on the loose or the man’s children within the vocational school are on the loose, without the Abend being able to do so. During the show, there were no two songs from “Rough And Rowdy Ways”, and other songs that were not performed like “It’s All Over Now, Baby Blue” and both songs were poorly performed. performed: before “All Along The Watchtower” Dylan gave three songs to one song, and here is his next “It Ain’t Me Babe” played as high as possible on the E-Gitarre.

Schönheit moment

Seine Instrumentalisten kommen dagegen wenig zur Entfaltung, spielen zurückhaltend, sind damit ausgelastet, den Laden zusammenzuhalten. This is where Jim Keltner is one of the best sidemen of the rock scene: The 82-year-old song is one of the best songs, and the feeling of feeling will also be in the Frankenhalle spürbar, with wuchtigen Wirbeln bei “Watching The River Flow” or Subtle Fills bei “Goodbye Jimmy Reed.”

And there is yet another Schönheit moment at this time: near the ballad “Mother Of Muses” with Tony Garniers gestrichenem Kontrabass, for everyone behind the Schluss number “Every Grain Of Sand”. Während Dylan quickly played in other songs, new arrangements were made, it is indeed this ballad with the wonderful guitars from 1981. And his solo harmonika at the end arrived at the original, with the so old Zartheit, with so old Seele: In dieser allerletzten La Strophe des Abends flies to one place to use it.

But the war went smoothly, and the audience spectacle in the Frankenhalle took place at the highest level of the stage: the master of the era with standing ovations – and the applause was heard in a friendly manner.