A STEADY stream of Dylanologists plodded before the stage seeking
their seats. Few had come to see last night's classy and spirited
support act, Edie Brickell and the New Bohemians, who battled gamely
against dire sound. They also had to contend with one tired and
emotional fan who shouted ''We want Bob Dyl!'' throughout the set.
Would old Bob Dyl be able to conquer the acoustic atrocity that is the
SECC? Would everyone find their seats before he came on? Would they
stand up and party when he did?
Shambling on with his young and feisty band with a fast punked-up
version of Subterranean Homesick Blues, Bob Dyl had everyone on their
feet only for the stewards to make them sit down again. The sound never
got much better but grizzled Bob was always in potent rough and ready
form. Ripping through songs chiefly from his early catalogue with a
proper rock 'n' roll disregard for the near-religious esteem in which
they are held by some of his disciples.
Stuck Inside of Mobile with the Memphis Blues Again was hammered out a
pace younger stadium-rockers would find it difficult to match. Much
loved lyrics were spat out quickly in accents slurred and somewhat
self-parodying as if to pre-empt any easy singalongaBob.
Propelled by some slicing work from his band, the juggernaut rolled
on. A thoroughly contemporary hard rock All Along the Watchtower
banished memories of Jimi Hendrix.
Fittingly during I Shall Be Released everyone went to stand down the
front in a form of rocking solidarity. Like A Rolling Stone was awesome.
During Maggie's Farm I swear I heard a government topple. It was an
experience much more intense that I had bargained for and one I'll
always be glad I felt.
Michael Stipe still says more to me about my life and I still don't
think Dylan did very much after Blonde on Blonde. But if anyone ever
tells you other people do Dylan's songs better than their creator, hit
them. Bob Dyl rocks.
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