In the hall of the room of the Grand Rex the atmosphere is febrile. The hair is mostly grey and white flock to the doors of the hall, and already the booth merchandising is stormed. Posters and t-shirts go off at any speed. In the room still lit under the arch, bright red around the scene are arranged the instruments of Bob Dylan and his musicians.

At the center, the piano behind which the music legend will spend the major part of the concert throne. No capture photo or video is not permitted. Fans are quick to make selfies before the start of the concert under the eyes of suspicious guards placed in the room to enforce this exact point. “20h battery!” could be read on the tickets. After four rings which are involved to reach the atmosphere, the lights go out under the screams, the whistles and the applause of the room not yet completely filled.

” READ ALSO – Bob Dylan to return to Paris for three concerts in April 2019.

20h11, Bob Dylan, and his musicians take the stage: Tony Garnier on bass, George Recile on drums, Charlie Sexton to the melodic guitar and Donnie Herron on violin, banjo, mandolin, electric, pedal and lap steel (guitar extended). Without a word, the singer is dressed in a jacket of golden began Things have changed from the film Wonder Boys released in 2000 to stand behind the piano. The titles are chained without any address to the public, and with very few pauses. The voice is less clear, as the words sometimes hard to understand so that they can make them unrecognizable some of the titles, but the allure is always there. The audience spies on the slightest touch. Desperately. When he pulls out his harmonica on a Simple twist of fate , the room was inclined to believe it finally.

Like a Rolling Stone and Blowin’ in the wind scarcely recognizable

Each new song begins under a cloud of applause before quickly shut up as soon as Bob Dylan let loose his first words. For Scarlet Town , the singer leaves his piano, and walks on stage in the middle of its musicians, without ever posting on the front of the stage. When the first notes of Like a Rolling Stone echo in the room, the public loses their cool, some get up and scream. Yet the song is barely recognisable as the rhythm, notes, transposed, and stretched sound different from the original. Same feeling for the song Blowin’ in the wind that he sings after having been reminded by the public. Two pieces twisted, transformed to the extreme as a way for the artist to assert his paternity total and the right to do what he wants.

After a It Takes a lot to laugh, it takes a train to cry final, Bob Dylan leaves the stage as he had arrived there, without a word to the public, without even a greeting. Not a single time it has taken up the guitar, in preference to the piano. However, in the room of the phrases come together “It was awesome!” says the sexagenarian to her husband. A young man explains: “It was a very good concert with classics but also some original features like the return of Like a Rolling Stone or Just Like Tom Thumb’s Blues . But overall, it’s always the same set list for several years.” In spite of the fans conquered, the artist delivers a performance in half-tint so. His next two concerts this Friday and Saturday are a sell-out.

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