Bob Dylan came to the concert hall to play – not to pose
In "Blowin 'In The Wind," the star measured over zealous cell phone photographers.
Bob Dylan (archive)
On April 16, 1962, Bob Dylan debuted "Blowin 'In The Wind" for the first time in New York. Exactly 57 years later, on Tuesday, the world's hit was tune in to the end of an elegant performance at the Vienna Konzerthaus. But after a few lines, Dylan interrupted the song, annoyed with the audience's cell phone picture: "We can touch or pose!" Then his few words that night. Bob Dylan came to Austria to play music and not to pose. Latest announcements clarified before the show, according to which photography and filming are undesirable, the first underlined the lively performance in a dignified picture.
The fact that "Things Have Changed" has begun is marked since 2013. That does not change everything. Above all the pieces of the age, the works do not undergo radical changes of disposition, that are given to the classics. It also sounds familiar "Pay In Blood", "Early Roman Kings" and "Scarlet Town". However, the performance of "Scarlet Town" was a highlight: Dylan delivered his vocals exceptionally standing, inlaid in red and a sound reminiscent of a Western epic.
High quality blues
One can also expect "Love Sick" as well as the group's high-quality blues around guitarist Charlie Sexton and multi-instrumentalist Donnie Herron who used to apply their very thick steel pedal. Then "Highway 61 Revisited" rocked and rolled heavily, with the R & B version of "Thunder On The Mountain" that Chuck Berry would have liked. "Gotta Serve Somebody" was taken from the gospel to the Americana. The 77-year-old singer sang "Do not think twice, it's all right" with great passion, setting the tone on the piano. At first, "Like A Rolling Stone" looked completely odd, quiet rather than furious, and yet so effective, when Dylan barely had Tony Garnier gently bent his bass, crushed "how does he feel" in the room.
"Blowin 'In The Wind" as a first encore came flexible and melodic. So the sacrilege: mobile photo – the spasmodic attempt to capture the moment instead of taking advantage of it! Dylan goes to the edge of the stage, regulates the photographer or photographers, is so well fed in Viennese that he stumbles and almost falls. The next "it takes a lot to laugh, it takes a train to cry" was then just a mandatory exercise. (APA)
conclusion: Inspired performance of the superstar, who could not really upset even a mini-scandal
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