Never Ending Tour 2023

Excellente nouvelle !!
Après avoir enfin pris le temps d’écouter les concerts de la dernière tournée européenne, et de lire vos retours, je dois dire que ce leg avait l’air phénoménal, et deux crans au dessus de ce qui avait été proposé en 2022. Les reprises et nouveaux arrangements apportent énormément et ce beau groupe est désormais tight as hell.
Ceux qui auront la possibilité d’aller au Canada / U.S vont se régaler !!
Je garde des cartouches pour aller peut-être retourner l’applaudir à la toute fin de la tournée R&RW 2024 sur sa terre natale !

Tom Paine a écrit:

Excellente nouvelle !!
Après avoir enfin pris le temps d’écouter les concerts de la dernière tournée européenne, et de lire vos retours, je dois dire que ce leg avait l’air phénoménal, et deux crans au dessus de ce qui avait été proposé en 2022. Les reprises et nouveaux arrangements apportent énormément et ce beau groupe est désormais tight as hell.
Ceux qui auront la possibilité d’aller au Canada / U.S vont se régaler !!
Je garde des cartouches pour aller peut-être retourner l’applaudir à la toute fin de la tournée R&RW 2024 sur sa terre natale !

Et oui l'ami, la dernière tournée est au dessus de 2021 et 2022, c'est indéniable !

Heureux de savoir que tu mets des sous dans l'écureuil pour 2024 car personnellement je projette également un petit tour en terre appalachienne si mon emploi du temps me le permet dans 1 an...

à très vite

Bob is back on the road ! smyle !

toute comparaison intempestive avec le Grinch sera sévèrement puni

Here we go amigo ! Avec une salle de 1800 places seulement à Brooklyn et une présence at The Fillmore à Philadelphie...une petite salle aussi qui est généralement conçu pour du General Admission et qui change totalement des théâtres...et 4 dates de libres avant...et pas de Beacon...intéressant

10/01/23		Kansas City, MO - The Midland Theatre	details
10/02/23		Kansas City, MO - The Midland Theatre	details
10/04/23		St. Louis, MO - Stifel Theatre	details
10/06/23		Chicago, IL - Cadillac Palace Theatre	details
10/07/23		Chicago, IL - Cadillac Palace Theatre	details
10/08/23		Chicago, IL - Cadillac Palace Theatre	details
10/11/23		Milwaukee, WI - The Riverside Theatre	details
10/12/23		Milwaukee, WI - The Riverside Theatre	details
10/14/23		Grand Rapids, MI - DeVos Performance Hall	details
10/16/23		Indianapolis, IN - Murat Theatre	details
10/17/23		Indianapolis, IN - Murat Theatre	details
10/20/23		Cincinnati, OH - The Andrew J. Brady Music Center	details
10/21/23		Akron, OH - Akron Civic Theatre	details
10/23/23		Erie, PA - Warner Theatre	details
10/24/23		Rochester, NY - Auditorium Theatre	details
10/26/23		Toronto, ON - Massey Hall	details
10/27/23		Toronto, ON - Massey Hall	details
10/29/23		Montreal, QB - Place des Arts - Salle Wilfrid-Pelletier	details
10/30/23		Schenectady, NY - Proctors Theatre	details
11/01/23		Springfield, MA - Symphony Hall	details
11/03/23		Boston, MA - Orpheum	details
11/04/23		Boston, MA - Orpheum	details
11/05/23		Boston, MA - Orpheum	details
11/07/23		Port Chester, NY - Capitol Theatre	details
11/08/23		Port Chester, NY - Capitol Theatre	details
11/10/23		Providence, RI - Providence Performing Arts Center	details
11/11/23		Waterbury, CT - Palace Theater	details
11/14/23		Brooklyn, NY - Kings Theatre	details
11/15/23		Brooklyn, NY - Kings Theatre	details
11/19/23		Philadelphia, PA - The Fillmore	details
11/20/23		Newark, NJ - New Jersey Performing Arts Center	details
11/21/23		Newark, NJ - New Jersey Performing Arts Center

Oh my God, le King's Theatre a l'air juste parfait pour Old Bob !

Je suis à deux doigts du craquage !
Très belle tournée automnale en perspective, les lieux sont intéressants...

Tom Paine a écrit:

Oh my God, le King's Theatre a l'air juste parfait pour Old Bob !  

Je suis à deux doigts du craquage !
Très belle tournée automnale en perspective, les lieux sont intéressants...

Arrête j'y ai pensé aussi...mais non. Ma douce m'a promis de pouvoir aller en profiter en 2024...

On a notre camarade Jack Fate qui sera à Montréal !  le pied

Oui très belle tournée...refera t-il les states à l'automne 2024...? J'espère

Roberto au Farm Aid 2023

https://twitter.com/rayfp/status/1705779498795331665


https://consequence.net/2023/09/bob-dylan-farm-aid/

La prestation complète.

https://vimeo.com/867585062

Assis, jouant de la guitare et jouant "Maggie's Farm", "Positively 4th Street" et "Ballad of a Thin Man".
De manière pas toujours compréhensible, avec beaucoup de sourires.
Avec les Heartbreakers de feu Tom Petty !
Une performance aussi étrange que dylanesque.
Est-ce que ça veut dire que la setlist sera un peu modifiée pour la reprise du "Rough and Rowdy Ways Tour" ? Ou bien c'est juste un one-shot ?
À suivre...

incroyable surprise hier ! savez vous si l'info avait fuité ou bien le public l'a appris en début de concert? C'est une performance rare, à souligner dans la carrière du Zim. Je ne pensais plus qu'il ferait ce genre de surprise. Et 3 chansons dont 2 plutôt rares en live d'une lointaine période...! Je n'ai pas encore regardé le live...

D'ici à ce que Bob nous offre l'interprétation d'un intégral Blonde on Blonde à la manière de Neil Young il y a quelques jours pour une prochaine tournée, il n'y a qu'un pas 

J'ai regardé les 16 minutes du concert! Quel chance!

Il est déjà plaisant de voir Bob jouer de la guitare électrique, même si son jeu est parfois bancal, c'est génial. 

La performance: on a le sourire aux lèvres du début à la fin, on s'amuse d'entendre jouer un vieux copain ses titres emblématiques avec (presque) les mêmes arrangements qu'à l'époque. C'est clairement le cas pour Positively 4th street et c'est suffisamment rare pour que le souligner. La partie d'orgue est la même qu'Al Kooper à l'époque ! ou en tout cas cela s'en rapproche. 

Maggie's farm est tout de même assez bancale...par contre Thin Man est renversante Bob nous offre même un joli jeu de guitare à la fin. J'entre et je sors. Not a word even spoken, à quoi bon? Je pense que la moitié du public ne s'avait même pas à qui ils avaient à faire. C'est une performance volé au temps. Rien de fou fou hein, juste ça a le mérite d'exister et on sait que Bob n'est pas très offrant pour ce genre de jeu. Alors délectons nous.

Et après? Une tournée avec les Heartbreakers? Un nouveau projet musical? Un redit de ses tubes des années 60 sur scène? Il l'a déjà entamé avec ce Shadow of Kingdom plutôt bien réalisé. Nous avons le droit de nous projeter et d'imaginer une actualité musicale venir pour l'année prochaine.

Incroyable surprise !
Avec un Dylan debout guitare à la main tout au long de la première chanson.
Trois titres mythiques et si Maggie's Farm ne restera pas dans les mémoires (je pense que c'est essentiellement dû au fait que Dylan règle depuis des années le son lors de la première chanson, obligeant les techniciens à faire des changements au milieu du morceau ..et puis le texte n'est pas totalement maitrisé non plus)..Si donc la première chanson est oubliable les deux suivantes sont des versions splendides,
D'abord "Positively 4th Street" qu'il chante vraiment superbement et qu'il n'avait plus joué depuis 10 ans ! Jamais je n'aurais pensé réentendre cette chanson en live, quel bonheur!
Enfin, et surtout, Thin Man qu'il a joué plus de 1000 fois sur scène et dont il arrive encore à trouver des aspects inexplorés. Son solo final nous montre d'ailleurs que la guitare c'est pas que pour faire semblant.
MAGNIFIQUE
Et puis remonter sur scène avec les musiciens de son ami décédé c'est pas rien non plus..c'est aussi beau et fort qu'inespéré

Une interview du bassiste Lance Morrison qui raconte les coulisses du Farm Aid :

How much notice did you get that this was happening?

No more than a month. I think it was only a couple of weeks out when I got a call from management that said Bob Dylan had called Mike and asked him to put a band together for Farm Aid. And Mike was going to use the Knobs. So it was just crazy news to come out of the blue.

We had one of our dates that night had to postpone it. The routing was pretty stressful because we do a gig and then the next day we have to take a flight to Indy. We arrive and basically go right to soundcheck, then the next day is the gig, and then Sunday we wake up and fly out through New York to Connecticut and do a gig that night.

So Mike basically told Bob, "I've got a band. I don't need to put one together."

Exactly. And of course he wanted Benmont in there, Benmont's the man, but also he has a history with Bob, so it was very helpful to have him there too.

Let's go through the chronology a little bit. You fly in the day before and there's a soundcheck?

Right, yeah. We flew in Friday, we did a soundcheck that night.

How much do you know at that point? Do you know what songs? Have you rehearsed them?

We had a couple of rehearsals at Mike's place two or three weeks ago.

With Dylan or just the Knobs?

Bob showed up. That was the first time that I got to meet him and play his music, which was just amazing.

But it was a surprise appearance. Usually a show that size, you'll have like a production rehearsal or a dress rehearsal or something. It was much more casual than that. [The soundcheck] was just kind of getting up on stage and figuring out where everybody was gonna stand and going through the tunes again. Because even when you have something rehearsed, it seems like Bob’s always inspired or creative and coming up with something. I think we changed the key on “Maggie's Farm” at soundcheck. I guess he just felt more comfortable in that key.

Did you know going into those first rehearsals at Mike place a few weeks before, these are the songs?

There was kind of a general plan that we were going to do. “Maggie's Farm” was one and “Fourth Street” was another. “Like a Rolling Stone” was discussed, but nothing had been decided upon. So we were ready with a handful of songs. All of them his classic stuff from that time period.

I'm not sure why the initial handful of songs were chosen. “Maggie's Farm” works thematically. That one makes sense, certainly.

Do the one with “farm” in the name.

Exactly. It was Farm Aid. That has to be one of them.

So I went and learned all of the original arrangements. We were all told to keep it under wraps for obvious reasons. The couple of close friends that I did tell, and swore to secrecy, were pretty big Dylan fans. They're like, "Bob changes up arrangements all the time." So I went in prepared for whatever, just to be open and see what happened. But it was nice to kind of get to play those tunes in arrangements that were fairly similar to the original recordings.

Were these hours and hours of rehearsals, or does he show up, you play them once through, and he leaves?

No, we did a couple of days.

Wow, so these are pretty extensive. A couple of days for three songs, that's not messing around

Yeah, I guess so, but also it's fairly loose. I think “Maggie's Farm” might have been the first one that we rehearsed. The arrangement is sort of the same, but it has a slightly different feel than what we ended up playing. Bob didn't want to do it like just the [original]. We'd run through it with the feel that he was wanting, different tempos and stuff like that. Even though we're in a narrow arrangement of these tunes, you're still trying to find something special, something different. We took a couple of trips sideways and played some of the songs different for a while, but then we'd always find our way back.

One of my favorite parts of the whole thing is Bob and Mike singing the “no, no more” coda to “Maggie’s Farm” on the same microphone. For all the times Bob’s sung the song before, he’s never done that. Was that rehearsed?

Yeah. That's something that Bob came up with at rehearsal one time. Each rehearsal, that little part would change or morph into whatever, and he stuck with it. That was helpful. It was kind of our cue that, okay, now we're getting to the end of the song.

Was he playing guitar from day one?

Yeah. That's one of the things that I didn't realize, that he hadn't been playing guitar recently. So when he shows up, the first thing he did was put on a guitar. They had a couple of guitars there for him. He's standing up playing guitar in rehearsal and it just seems normal to me. It's like, well, there's Bob Dylan with the guitar. Exactly the way I've always seen it.

It wasn't until after we did the show and I got back to the hotel room and the reactions were coming in that I realized how exciting it was for a lot of Dylan fans to hear him play guitar and to hear him do these tunes that he hadn't done in a while.

Fans were just going nuts. And the secrecy— my sense is there was no rumor even among the attendees. Often with these thing, word leaks out. Someone spots a name on a dressing room door or something. It really seems to have been a shock.

Our flight from Indianapolis back into New York, there was a young guy who was in the control truck where they had the sound and the lights and everything like that. When the lights went down, they had no idea what was about to happen.

The actual Farm Aid crew didn’t know?

They had no idea. He even asked me, “Who made the decision to turn off all the screens?" Because I guess all the other acts had the screens behind them with the videos going, this big production. And I said, I just think that was Bob being like, "We don't need any of that kind of stuff."

Also I don't think Bob felt like he needed an introduction or anything like that. We just went on without introduction, didn't really speak between songs, and left. When I see videos of it, it definitely sets itself apart from the other acts, just that sparseness.

Given the lack of introduction, did people in the crowd figure it out right away what was happening?

The people up close realized that it was Bob and there was a big reaction, then it kept going back into the audience. It took a while for people a little further back to catch on.

But I mean, to be honest, at that point once we hit the stage, I am so focused on Bob it's hard to know exactly what else is going on.

What are you focused on? I've talked to a bunch of musicians who've played with him. Some of them talk about looking at his hands, some of them talk about trying to see where he's at with the lyrics. What specifically are you cueing off of?

The vocal. That's the one thing I do wish— like at soundcheck and in rehearsal, Bob sometimes doesn't sing on the mic, so you don't get the full effect of the song or the arrangement. One thing that I wish, and this is just for me, is that I could hear Bob's vocal a little better come through the monitors. That was the one thing that would have been helpful. But again, on a normal show, you probably have the production dialed in a little better. It didn't really affect what I played, but it just made me have to concentrate that little bit more.

You mentioned changing the key of “Maggie's Farm” in the soundcheck. Anything else that changed there from what you guys had worked on a few weeks prior?

That was basically it. And just also getting used to the tempo that we were going to play stuff, and reacquainting because we hadn't played the stuff in a couple of weeks.

I was just re-watching the videos before we spoke, and I noticed that you and Chris [Holt, guitar] have vocal mics in front of you, even though, at least as far as I could see, you don't actually sing.

Chris did sing actually on the “no no more” part. The mic was there for me to sing too if I wanted to add in there. I didn’t. I was more just focusing on stuff and I figured that Mike and Bob and Chris had it.

One other very specific question about the performance is, it looks to me that Mike is moving to end “Ballad of a Thin Man,” and Bob decides he wants to keep guitar-soloing. There's a moment where Mike puts his arm up, and Steve starts wrapping it up, but then it seems like Bob decides he wants to keep playing. Is that what actually happened?

Right. That was where most of the time that we rehearsed, we had ended the song. But one time in rehearsal, Bob had kept going with another verse. It's just one of the things you have to always be aware of. Mike said that we were ending the song and then he saw that Bob was soloing and he's like, "Let's keep going. If Bob wants to solo, everybody should hear Bob's solo."

What happens when you walk off stage?

Everybody was excited. Bob seemed happy, smiling. We said our goodbyes and thank yous, and we got in the van to go back to the hotel room. It was kind of hard to get to sleep that night just because the responses kept coming in. I mean, obviously it's a huge deal to get to play with Bob Dylan, even a short three song set, but then when the reactions started coming in– I think part of that is because it was such a big surprise. No one was expecting it. So that kept me up an extra two or three hours.

Have you guys debriefed? You're back on the road again now, minus Benmont.

Right. Everybody's happy, not trying to get too over our skis about anything. It’s nothing but a positive thing.

This might not be a question for you, but I'll ask since I have you, do you know why Bob selected Mike?

I have no idea. Mike was thrilled and honored.

The armchair guess is that the first Farm Aid was Bob Dylan with Tom Petty and the Heartbreakers, the first time they played together.

That's one of the things that I didn't realize. This was only the second time Bob actually played Farm Aid in person after the first one. The other time was via satellite. There were all these firsts, and all these things about Bob playing guitar and stuff that I'm glad I didn't know about before we hit the stage.

Why not?

You want to approach it and honor it like any gig and not build it up too much in your brain before you go out there.

From my other conversations, it seems like sometimes Dylan is talkative and sometimes he's fairly business-like and doesn't say much. Which one did you get?

I think I got a combo. He knows Mike and he knows Benmont, so he's very comfortable around them. Obviously, I don't know if Steve Ferrone has ever worked with him before [only when Bob sat in with the Heartbreakers on a joint tour in 2003 –Ray], but Chris and I have never worked with him. So he's in a room playing these songs with at least a couple of guys that he doesn't really know, but he was always friendly and nice and never seemed annoyed by us or anything like that. He seemed like a normal person, which is always a weird thing when you're in the room with an icon, somebody that's as famous as Marilyn Monroe or James Dean or Elvis.

You know what's funny? Literally after the first rehearsal, I started questioning, “What is genius?” You're in the presence of [someone with] his whole body of work and just thinking about how much his work influenced people and the whole arc of his career, how he reinvented himself, and the way that he started playing his songs in forms that people didn't even recognize. Where does that come from? He's the only artist that I've ever played with where after the first rehearsal I'm thinking about, what does genius mean?

What about the first rehearsal put those thoughts in your head?

We'd play a song, and then he'd have some suggestions. It wasn't your standard like musical-arrangement type thing. He was speaking in terms that you had to stop and go, wait, what is he trying to get me to do? I mean, they made sense, but then they also made you go, wait, what? Just the way Bob would express what he was trying to get, it made you think outside of your normal way of going about making music.

You mentioned “Like a Rolling Stone” being in the mix, was that something you ever tried at rehearsal, or was that just something that was being discussed before you showed up?

As a band, before Bob showed up, I think we ran through it, but once Bob got there, I don't think he wanted to do it, or we just never got around to it.

Of the three songs you did on stage, is there one of the three that stands just a little above the other two for you?

“Thin Man” for me was the one that I felt arrangement-wise, even from the get-go, was the most locked in. That was the one that I felt like I didn't have to pay attention to Bob as much. Once that train started going, it was going to hit all the stops on time.

Until he decides that he doesn't want to end it where you're thinking you're going to end it!

Well, yeah, of course. But also, we're hanging on a B-minor at that point, and it's no big deal. And Mike and I started the chord changes at the same time. So I think it worked without the train wrecking too much.

That was one of my favorite parts, because it was just clearly so live and spontaneous and in the moment.

Exactly. And I bet if we had just stayed on stage and played those three songs again, there'd be moments like that that would happen the second time we played them.

Also “Positively,” when Ben played the organ part, everybody in the venue went nuts. Ben is just so good. I'm just so glad he was there, because he's such a musical glue. Just the stuff he plays is so authentic and so great. He always makes the right choice.

Everyone is assuming this is a one-off. There's no talk of anything further?

I haven't heard of anything in the works. But this wasn't in the works a month ago.

des interviews qui sont rares dans le cercle fermé des musiciens ayant collaboré avec Dylan. On aimerait avoir ce genre d'interview avec Tony Garnier ! Mais là c'est sympa aussi et on apprend que ça s'est quand même fait en last minute 3 semaines avant l'évènement. Avec Bob qui fait son Bob au moment de changer la tonalité sur Maggie's Farm au moment des repet' si j'ai bien compris   sacré lui!

Kansas City 1st night avec une chanson d'ouverture de wilbert harrisson avant River Flow



[th][/th]

1.	Kansas City (Bob on baby grand piano)
2.	Watching The River Flow (Bob on baby grand piano)
3.	I Contain Multitudes (Bob on baby grand piano)
4.	False Prophet (Bob on baby grand piano)
5.	When I Paint My Masterpiece (Bob on baby grand piano and harp)
6.	Black Rider (Bob on baby grand piano)
7.	My Own Version of You (Bob on baby grand piano)
8.	I'll Be Your Baby Tonight (Bob on baby grand piano and harp)
9.	Crossing The Rubicon (Bob on baby grand piano)
10.	To Be Alone With You (Bob on baby grand piano)
11.	Key West (Philosopher Pirate) (Bob on baby grand piano)
12.	Gotta Serve Somebody (Bob on baby grand piano)
13.	I've Made Up My Mind To Give Myself To You (Bob on baby grand piano)
14.	Not Fade Away (Bob on baby grand piano)
15.	Mother of Muses (Bob on baby grand piano)
--	Band introductions
16.	Goodbye Jimmy Reed (Bob on baby grand piano)
17.	Every Grain of Sand (Bob on baby grand piano)

Et les personnes présentes auront remarqué à l'espace merch qu'imprimé sur les tee shirts figurent des dates jusqu'à début décembre pas encore annoncé ni sur ER ni sur le site officiel 

Dans une piètre qualité, mais qui a le mérite d'exister moins de 24h après sa performance ! La voici:



Bon leg à tous. Ca promet !

Parce que le NET sera toujours le NET et laissera toujours la place à l'improbable, au mystique, à l'historique! Bob a interprété 2 titres de Chuck Berry hier à St Louis dans la ville de naissance de ce dernier. Ce n'est pas rien. Ca dépasse les autres reprises qui vont du Dead à Sinatra. Là on touche au spectrale. Bob Dylan qui reprend 2 titres majeurs dans l'ouvre d'un des plus grands artistes que les US ont connus. Cela m'a ému ce matin en découvrant ça et franchement j'ai hâte d'écouter les enregistrements.

Dylan est sur la route, il prend tout le monde à contre pied et j'ose espérer une tournée à noter dans les anales. Et on peut rêver demain à une reprise de Muddy Waters ou John Lee Hooker à Chicago....et pourquoi pas même un hommage à Robertson à Toronto? Tout est possible et ces covers rentrent dans la légende

gengis_khan a écrit:

Et on peut rêver demain à une reprise de Muddy Waters ou John Lee Hooker à Chicago....et pourquoi pas même un hommage à Robertson à Toronto? Tout est possible et ces covers rentrent dans la légende

Et bien bravo, tu avais vu juste !

Chicago, Illinois
Cadillac Palace Theatre
October 6, 2023

1. Born In Chicago (Bob on baby grand piano) (song by Nick Gravenites)
2. Most Likely You Go Your Way (and I'll Go Mine)
(Bob on baby grand piano)
3. I Contain Multitudes (Bob on baby grand piano)
4. False Prophet (Bob on baby grand piano)
5. When I Paint My Masterpiece (Bob on baby grand piano)
6. Black Rider (Bob on baby grand piano)
7. My Own Version of You (Bob on baby grand piano)
8. I'll Be Your Baby Tonight (Bob on baby grand piano)
9. Crossing The Rubicon (Bob on baby grand piano)
10. To Be Alone With You (Bob on baby grand piano)
11. Key West (Philosopher Pirate) (Bob on baby grand piano)
12. Gotta Serve Somebody (Bob on baby grand piano)
13. I've Made Up My Mind To Give Myself To You
(Bob on baby grand piano)
14. That Old Black Magic (Bob on baby grand piano)
15. Mother of Muses (Bob on baby grand piano)
16. Goodbye Jimmy Reed (Bob on baby grand piano)
-- Band introductions
17. Every Grain of Sand (Bob on baby grand piano)
18. Forty Days and Forty Nights
(Bob on baby grand piano) (Song by Muddy Waters)

Trop bien. On aura droit à d'autres reprises c'est sûr. Et toujours pas l'ombre d'un Grateful Dead ! Il y a davantage de profondeur dans le Band actuel, cela ne m'étonne pas qu'il s'essaye à de nouvelles choses. Il suffirait d'enlever 2 morceaux du set actuel et de les remplacer par des chansons de Shadow Kingdom et ce serait l'apothéose.

Toujours pas entendu le moindre enregistrement mais je vous tien informé si j'en trouve un de bonnes qualités.

Pronostique pour ce soir: I'm in the Mood et Sweet Home Chicago.

Et s'il veut vraiment me faire plaisir: Cold Iron Bounds !

Et bien pour le Grateful Dead, il suffisait de demander !
Et un petit Howlin' Wolf en bonus.
Depuis combien de temps on avait pas eu une surprise ou deux chaque soir ?

Chicago, Illinois
Cadillac Palace Theatre
October 7, 2023

1. Born In Chicago (Bob on baby grand piano, Donnie on lap steel,
Doug on acoustic guitar) (song by Nick Gravenites)
2. Most Likely You Go Your Way (and I'll Go Mine)
(Bob on baby grand piano, Donnie on electric mandolin, Doug on acoustic guitar)
3. I Contain Multitudes (Bob on baby grand piano,Doug on pedal steel,
Doug on acoustic guitar)
4. False Prophet (Bob on baby grand piano, Donnie on lap steel, Doug on acoustic guitar)
5. When I Paint My Masterpiece (Bob on baby grand piano, Donnie on violin,
Tony on standup bass, Doug on acoustic guitar)
6. Black Rider (Bob on baby grand piano, Donnie on electric mandolin,
Tony on standup bass, Doug on acoustic guitar)
7. My Own Version of You (Bob on baby grand piano, Donnie on pedal steel,
Doug on acoustic guitar)
8. I'll Be Your Baby Tonight (Bob on baby grand piano,
Donnie on electric mandolin, Doug on acoustic guitar)
9. Crossing The Rubicon (Bob on baby grand piano, Donnie on lap steel,
Tony on standup bass, Doug on acoustic guitar)
10. To Be Alone With You (Bob on baby grand piano, Donnie on violin,
Tony on standup bass, Doug on acoustic guitar)
11. Key West (Philosopher Pirate) (Bob on baby grand piano,
Donnie on pedal steel, Tony on standup bass, Doug on electric guitar)
12. Gotta Serve Somebody (Bob on baby grand piano, Donnie on lap steel,
Doug on electric guitar)
13. I've Made Up My Mind To Give Myself To You
(Bob on baby grand piano, Donnie on electric mandolin, Tony on standup bass,
Doug on acoustic guitar)
14. Truckin' (Bob on baby grand piano, Donnie on pedal steel, Doug on acoustic guitar)
15. Mother of Muses (Bob on baby grand piano, Donnie on electric mandolin,
Tony on standup bass, Doug on acoustic guitar)
-- Band introductions
16. Goodbye Jimmy Reed (Bob on baby grand piano, Donnie on lap steel,
Tony on standup bass, Doug on acoutic guitar)
17. Every Grain of Sand (Bob on baby grand piano, Donnie on pedal steel,
Doug on acoustic guitar)
18. Killing Floor (Bob on baby grand piano, Donnie on lap steel, Doug on acoustic guitar) (Song by Howlin' Wolf)

hazel a écrit:

Depuis combien de temps on avait pas eu une surprise ou deux chaque soir ?

Une surprise c'était fréquent ces dernières années
2 cela l'était moins, mais alors 3 il faut remonter à loin en arrière ! je cherche mais ne trouve pas vraiment...

Les mauvaises langues diront que ce ne sont pas des chansons de Dylan. Moi je trouve ça couillu de sortir de telle version à 82 berges ans des villes américaines mythiques où potentiellement, ce sera son dernier passage (le monde est grand, il y a encore à faire).

Howlin Wolf et Muddy Waters à 2 jours d'intervalle sans parler de Chuck Berry à St Louis. Je suis sur un petit nuage et les rares reviews sur boblinks sont élogieuses. Certains disent même que c'est mieux que la dernière tournée qui était déjà à un niveau très élevée. Bob serait davantage en roue libre version jazzman au piano et à restructurer des chansons tel que I Contain Multitudes (!!!) et Jimmy Reed. Il me tarde d'entendre tout ça en bonne qualité.

Et bien Chuck Berry n'est pas arrivé à St. Louis mais à Grand Rapids !



Grand Rapids, Michigan
DeVos Performance Hall
October 14, 2023

1. Watching The River Flow (Bob on baby grand piano)
2. Most Likely You Go Your Way (and I'll Go Mine)
(Bob on baby grand piano)
3. I Contain Multitudes (Bob on baby grand piano)
4. False Prophet (Bob on baby grand piano)
5. When I Paint My Masterpiece (Bob on baby grand piano)
6. Black Rider (Bob on baby grand piano)
7. My Own Version of You (Bob on baby grand piano)
8. I'll Be Your Baby Tonight (Bob on baby grand piano)
9. Crossing The Rubicon (Bob on baby grand piano)
10. To Be Alone With You (Bob on baby grand piano)
11. Key West (Philosopher Pirate) (Bob on baby grand piano)
12. Gotta Serve Somebody (Bob on baby grand piano)
13. I've Made Up My Mind To Give Myself To You
(Bob on baby grand piano)
14. Nadine (Bob on baby grand piano)
15. Mother of Muses (Bob on baby grand piano)
-- Band introductions
16. Goodbye Jimmy Reed (Bob on baby grand piano)
17. Every Grain of Sand (Bob on baby grand piano and harp)

yes génial!

Certains pronostics pour du Leonard Cohen à Montréal...mais j'y croire guère

Hier soir à Indianapolis, le Dead et John Mellencamp :



ndianapolis, Indiana
Murat Theatre
October 16, 2023

1. Watching The River Flow (Bob on baby grand piano)
2. Most Likely You Go Your Way (and I'll Go Mine)
(Bob on baby grand piano)
3. I Contain Multitudes (Bob on baby grand piano)
4. False Prophet (Bob on baby grand piano)
5. When I Paint My Masterpiece (Bob on baby grand piano)
6. Black Rider (Bob on baby grand piano)
7. My Own Version of You (Bob on baby grand piano)
8. I'll Be Your Baby Tonight (Bob on baby grand piano)
9. Crossing The Rubicon (Bob on baby grand piano)
10. To Be Alone With You (Bob on baby grand piano)
11. Key West (Philosopher Pirate) (Bob on baby grand piano)
12. Gotta Serve Somebody (Bob on baby grand piano)
13. I've Made Up My Mind To Give Myself To You
(Bob on baby grand piano)
14. That Old Black Magic (Bob on baby grand piano)
15. Longest Days (Bob on baby grand piano) (song by John Mellencamp)
16. Truckin' (Bob on baby grand piano)
17. Mother of Muses (Bob on baby grand piano)
-- Band introductions
18. Goodbye Jimmy Reed (Bob on baby grand piano)
19. Every Grain of Sand (Bob on baby grand piano and harp)

inconnu au bataillon, écouté aujourd'hui, j'aime bien

Bob quoi. Imprévisible

Inconnu aussi et j’avoue que je n’aurais pas relevé cette chanson (que Dylan avait déjà mentionnée au Music Care Awards en 2015). Mais quand il l’interprète alors, c’est autre chose

gengis_khan a écrit:

yes génial!

Certains pronostics pour du Leonard Cohen à Montréal...mais j'y croire guère

Je reviendrai à Montréal de Richard Charlebois ou je me pends

Blague à part, avec toutes ces surprises c’est compliqué de ne pas avoir d’attente mais j’espère profiter du moment et du privilège de voir Dylan sur scène quoiqu’il en soit (mais oui, du Cohen ça serait quand même bien!)

Hier à Cincinnati, une reprise de Dwight Yoakam :



Cincinnati, Ohio
The Andrew J. Brady Music Center
October 17, 2023

1. Watching The River Flow (Bob on baby grand piano)
2. Most Likely You Go Your Way (and I'll Go Mine)
(Bob on baby grand piano)
3. I Contain Multitudes (Bob on baby grand piano)
4. False Prophet (Bob on baby grand piano)
5. When I Paint My Masterpiece (Bob on baby grand piano)
6. Black Rider (Bob on baby grand piano)
7. My Own Version of You (Bob on baby grand piano)
8. I'll Be Your Baby Tonight (Bob on baby grand piano)
9. Crossing The Rubicon (Bob on baby grand piano)
10. To Be Alone With You (Bob on baby grand piano)
11. Key West (Philosopher Pirate) (Bob on baby grand piano)
12. Gotta Serve Somebody (Bob on baby grand piano)
13. I've Made Up My Mind To Give Myself To You
(Bob on baby grand piano)
14. That Old Black Magic (Bob on baby grand piano)
15. South of Cincinnati (Bob on baby grand piano) (song by Dwight Yoakum)
16. Mother of Muses (Bob on baby grand piano)
-- Band introductions
17. Goodbye Jimmy Reed (Bob on baby grand piano)
18. Every Grain of Sand (Bob on baby grand piano and harp)