The Riverside Theater, Milwaukee, Wisconsin: Bob Dylan was back on the road. Nobody seemed happier about it than Bob himself, with facial expressions that were frequently joyous. The audience at Milwaukee’s Riverside Theater was also excited yet remained respectfully quiet during the songs. Dylan was in good voice, and the sound mix was excellent – both Dylan’s lyrics and his piano were clearly heard. Even on the first night of this new tour, the backing quintet could follow Bob’s every move. And he performed for nearly two hours.
The promotion christened this The Rough and Rowdy Ways tour, named for his newest album. It’s unusual for Bob himself to attach a title to a series of concerts. There were no formally named Modern Times or Oh Mercy tours. Fans might refer to concerts in such album terms, but I don’t believe Bob Dylan ever has.
After this opening performance, however, it’s clear why this tour is named for Rough and Rowdy Ways, as Dylan sang eight of its 10 songs. Playing material from a new album might sound like an obvious and even expected thing to do, but Bob has given concerts following a record’s release where he didn’t touch his new material. This was true when I saw him shortly after Tempest came out.
The night began with “Watching the River Flow,” a minor radio hit in 1971. Maybe Bob was using this number to tell us what he had been doing during his time off – nothing. “Most Likely You Go Your Way and I’ll Go Mine” followed. Dylan often opened his 1974 concerts with this song of separation – perhaps reminding fans that he and they live in two different worlds. After these numbers, the true program commenced as Dylan began playing material from the new album.
In fact, the bulk of the set was devoted to Rough and Rowdy Ways, which was well received. The program, like the album, was long on ballads and down-tempo numbers. Bob played from sheet music for a few of these songs, something which should surprise no one. The audience reacted with particular enthusiasm to specific lines in “I Contain Multitudes.” Amidst these new songs, Dylan interspersed tunes recognizable to even casual fans. He played “Simple Twist of Fate” and “I’ll Be Your Baby Tonight,” as well as a rocking version of “Gotta Serve Somebody.” Dylan touched on his later catalog with “Early Roman Kings” and “Soon After Midnight,” both from Tempest. The audience was with him throughout.
The backing band was also with him, and it was fascinating to watch the instrumentalists navigate the musical waters that Dylan threw them into. Bob Britt and Doug Lancio offered electric guitar backing all night, while Donnie Herron switched between violin and steel guitars. Tony Garnier played upright and electric bass. Garnier gave a few specific hand cues to new drummer Charlie Drayton, and each of the band members were often giving visual prompts to one other in mid-tune. All this, while never taking their eyes off of what Bob Dylan was doing at the piano. They were working hard. But make no mistake – the quintet played as a unit and was ready for this opening night’s performance. That’s good, since the tour is booked through 2024.
The only time the band seemed uncertain of anything was not related to Dylan’s music; it was about the artist himself. Bob occasionally emerged from behind the upright piano to sing, to emote, or to play harmonica. Grinning widely with outstretched arms, he appeared to revel in the concert experience But when Dylan made his way from piano to center stage – he looked fragile, and at times unsteady on his feet. It was only then that his backing musicians looked apprehensive, but prepared to lend other forms of support, if needed. His piano playing could be forceful when he wanted, and his singing was strong. But watching this man move across the stage, there was no way to forget that Bob Dylan turned 80 this year.
The only song that drew no audience recognition as it began was “Melancholy Mood,” a Frank Sinatra tribute number from Dylan’s Fallen Angels album. Although less well known, “Melancholy Mood” might best sum-up the night’s set list. Performer and audience were clearly enthused about Dylan’s return to the stage – but many of the evening’s song lyrics discussed the end of the road and farewells. “Black Rider,” “False Prophet,” and set-closer “Goodbye Jimmy Reed” all discuss disillusionment and loss.
As with the concert’s opening numbers, Dylan may be telling us something about himself. He contains multitudes, yes, but he also knows he’s mortal. Bob understands, as he himself has written in “Oh Sister,” “time is an ocean, but it ends at the shore.” And maybe that’s part of the reason the Milwaukee audience was so jubilant, even amidst these world-weary songs. We still have Bob Dylan with us; let’s enjoy him today. We may not see him tomorrow.
Tom Wilmeth is a freelance writer who lives in Grafton, Wisconsin – former home of the Paramount Records label. He has a podcast called The Vinyl Approach, available on Spotify, and is the author of the book ‘Sound Bites: A Lifetime of Listening’ (Muleshoe Press, 2016), available on Amazon.
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