Review: In Clearwater, Bob Dylan paints a new masterpiece—without a phone in sight

On a warm Tuesday evening in Clearwater, Bob Dylan brought his “Rough and Rowdy Ways tour” to Ruth Eckerd Hall, for a magical night. As the tour name suggests, the living legend gave a raw performance in an intimate setting that left the audience awestruck.

As one of the most impactful musicians of all-time, the bard ensured the attendees undivided attention by requiring their cell phones be placed in locked, carry-able bags, for secure storage during the concert, adhering to Dylan’s strict no-photography policy. Moreover, the lack of cellphones felt like time had made a healthy rewind, as people actually spoke and mingled with one another. Inside the venue, the lobby was teeming with silver-haired boomers, some in wheelchairs, others shuffling to their seats. It's somewhat surreal to consider that many of these individuals were once “long-haired hippies” reveling in counter cultural experiences.

Starting right on time at 8 p.m., the curtain rose, revealing Dylan—playing the first half of a two-night stand at Ruth Eckerd Hall—at a baby grand piano, flanked by his five-piece band, Jerry Pentecost (drums), Bob Britt and Doug Lancio (acoustic and electric guitar), Tony Garnier (electric and standup bass), and Donnie Herron (pedal steel, mandolin, violin). With not a second to spare, Dylan kicked off with older songs including "Watching the River Flow" and "Most Likely You Go Your Way and I’ll Go Mine." Dylan's sartorial elegance, with black pants, cream-colored shoes, and a sequin-embossed black suit, complemented his thick curly hair as he showed a subtle vigor gracing the keys.
Then, the performance transitioned smoothly into newer selections from Dylan’s most recent project Rough and Rowdy Ways. Tracks like "I Contain Multitudes" showcased Dylan's baritone voice, softer and more nuanced than in his youth, imbuing the music with a newfound depth of emotion that others may call “aged”. From the blues-infused “False Prophet” to the jazzy rhythms of "When I Paint My Masterpiece," each song offered a distinct flavor as Dylan and his band included unorthodox and unrecognizable riffs into otherwise well-known melodies, which characterizes Dylan’s impromptu musical style. Moreover, his gospel-inflected rendition of "Crossing the Rubicon" and the rock-driven "To Be Alone with You" transported listeners to a bygone era, suffused with an air of nostalgia and warmth. Dylan's evolution towards a jazzy blues sound from the 1950s was evident throughout the concert, punctuated by homage to Chicago bluesmen and a gritty, authentic performance style reminiscent of smoky East Village bars.

Dylan's performance surpassed expectations, devoid of banter yet executed with the professionalism of a life-long seasoned musician. Amidst the concert's ambiance, characterized by an absence of raised cell phones, Dylan rolled through his set as the audience appreciated the maestro’s genius. Each and every song was met with, at minimum, one person standing in applause, and as a true mastermind, Dylan's ability to evolve and surprise his audience ensures a continued legacy bridging past and present. It's this unpredictability that keeps audiences enthralled—an enduring testament to Dylan's status as a musical icon.

Setlist
Watching the River Flow
Most Likely You Go Your Way and I’ll Go Mine
I Contain Multitudes
False Prophet
When I Paint My Masterpiece
Black Rider
I’ll Be Your Baby Tonight
My Own Version of You
Crossing the Rubicon
To Be Alone With You
Key West (Philosopher Pirate)
Gotta Serve Somebody
I’ve Made Up My Mind to Give Myself to You
Walking by Myself (Jimmy Rogers cover)
Mother of Muses
Goodbye Jimmy Reed (band introduction)
Every Grain of Sand

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