Review

Chicago, Illinois
United Center
October 27, 2001

[Shawn Pulver], [Mitch Herbold], [Keith Poniewaz], [Daniel Kortmann], [Peter Kirstein],
[Ryan Herzoz], [Abe Rondina], [Jason Blakeley], [Jim Doran]

I know that many people hate pre-show dialogue so I'll only say that I arrived
at the venue at around 10 in the morning. I was hungover. There were only five
people there...it was between 37-39 degrees (according to the trusty UC
marquee/weather station) for the duration of the 8 1/2 hr. wait. The United
Center is a hulking mass of corporate advertisement, which happens to double
as a basketball/hockey arena and venue for concerts, etc. This thing is
cavernous, eclipsing even the Staples Center in terms of capacity (by about
6,000 seats). The very top of the balcony was closed off in certain sections
around the arena, but I would ballpark that 90 percent of the available seats
were filled. It was definetely one of the higher profile venues on the tour.
Perhaps 200 or so people were right there at the gates when they opened 1 1/2
hrs. before showtime (scheduled). So here I've stated that I would neglect
pre-show background and I've written a paragraph of it. Enough. Everything
works out, as it usually does, and my friends from college and I (six in total)
stake our positions (me on the rail, in between larry and bob and my friends
right behind me in rows 2-3). Place fills up to about 70% by 8 and no sign of
Bob. Several clapping exhibitions and numerous calls to bring him out, none
successful (naturally). Setlists come out five minutes later and our man and
his troops appear at 8:20 (about). Wait For The Light to Shine--first show on
the tour so obviously the first time for this opener. Crisp version. The boys,
except for David, were in grey, glittery suits with black shirts. Larry and
Charlie were chillin' with the open neck but Tony sported a black tie to go.
Bob was in a new black suit, with glittery trim. White satinish scarf. David
wore a black shirt and black hat (not cowboy, not that beret). All in all a
sharp outfit. As I was saying, 'Wait' was a tight version. Bob played around
with his strumming, getting warm. It was clear from the start that there was
going to be an unusual amount of overt banter between everyone. Bob was going
watching Larry and picking his places to inject playful riffs. Charlie
initially acting sedated and unconcerned as is usual for him, but visibly
talking and adjusting with Tony. 'Times,' was next. Perhaps a skipped verse,
maybe not. Very clear vocals. It's been noted throughout that Bob's been
nailing vocals and this was absolutely the case tonight. He also started what
what was to become a ridiculous amount of interaction between himself and the
first row. He would approach the mike before the resumption of each verse and
ponder how to deliver the line. I would say that phrasing probably changed 2 or
3 times within the song itself. Each verse saw Bob ruminating on how to deliver.
I was amused to say the least (as was the crowd). It was obvious quite quickly
that the patrons close to the stage (by which I'm really including the entire GA floor--which was standing in front half, chairs in the rear). I really could
write another description of the quirks of this show. But that would probably
consist of 10 or more pages and would be an essay instead of a post. So I'll
try to stay on track again (fruitless). Harp solo at the end of 'Times;'
Larry's acoustic, while co-existing beautifully through the majority of the song,
was much too loud. In the front few rows, it was very difficult to hear the harp principally. It was sort of okay at the end but all in all, a pretty poor effort.
Don't know if that was due to mix, or our positions (too close for full sound).
But he was trying to make it sound good and it probably would have if Larry's
guitar was subtler. But okay, song two whatever. The venue is also enormous and
I wasn't realistically expecting the acoustics of Symphony Hall. It's Allright
Ma followed. Good slow version. Never really got fast, but definetely climaxed
both lyrically and instrumentally. Nice playing from the guitarisits. No real
time between 'Times' and 'Ma.' By this point it was a very sharp, but normal
performance. Bob was definetely gazing, smirking, questioning, and flirting with
crowd. But it was somewhat relaxed and not out of the realm of what I see him do
sometimes. But 'Ma' was very good and my friends, some complete live virgins,
were happy with the song. 'Searchin'' was next, another crisp rendition. The
vocal harmonies were excellent. The playing all around was meshing. Lights down,
a little conversation. I've yelled for nothing but Visions so far (before 2 & 3)
and am quiet now, knowing that the electrics are coming out. My joint smoking
has not commenced either, security is very nice and relaxed, but chilling on
the sides, between the rail and the stage. And the lights haven't been that
low yet. Whatever, not going to get kicked out early. So the joint stays in
the pocket and the lights come up to an electric intro of 'Gotta Serve Somebody.'
I haven't seen this since my first show and it's very loud and very good. They
stop before the refrain, and chop up the beats which leaves Bob singing "But
you...know you...gotta SERVE SOMEBODY.' Those great cohesive blasts of sound
coming from the three guitars. Sweet almost, so twangy with Charlie's bluesy
leads. Fairly interesting choice (as TD & TD) has been played here with
frequently. Though he's been changing it recently, still a nice and unexpected
surprise. The two songs that I really wanted to hear between Chicago and
Milwaukee were Mississippi and Visions. One old one new. Two representations
of the emotive difference of a 60's Dylan versus a current Dylan. So in the
electric portion of the show, I was shouting for Mississippi. And I'd had a
good feeling, especially after St. Paul went by without it being played
(since SD). After 'Serve Somebody,' they waited a bit to kick into the next
song. It was pretty quiet. Someone yelled "I love you Bob," to which I replied,
very loudly and hopefully noticiably on any bootleg, "I love Mississippi!"
Almost simultaneous with that moment, they turn around (they'd been huddling
by Tony's bass stand) and the distinct twang of Mississippi starts up. I wink
at my friend, who says to me, in a very light-hearted but ironic manner, "I
don't believe you." Mississippi was well, damn good. Great phrasing and
subtle changes: "All my powers of possession and thoughts so sublime..."
Many others, which I forget. The CD-R will be avail. soon (hopefully from
someone). He focused on clarity in diction and let Larry and Charlie drive
the song. Tony and David were solid, but to me, the guitars were prominent
as they reflected bob's vocal delivery. I was happy. 'Tell me' followed,
another nice addition. Larry on lap steel. Again, that sweet twangy sound
supported by a strong rhythmic pulse. Bob's songs that take this form are
so damn good. Bob repeats the first verse (I think?), consciously, at the
end. The band exchange nods and winks and smiles, but still nothing unordinary.
I'm thrilled at this point though, a very good setlist seven songs in. And
Bob's mood seems to be light and his focus steady. The banjo appears for
'Highwater.' Wow, big difference from the album version. I remarked to my
friend, "It sounds almost funkish." And it did. Tony and David put together
and odd rhythm, Larry's banjo played on the fringes and Bob and Charlie played
rock guitar. It was excellent though. Towards the end, the guitars fade and
the banjo teases the song to a conclusion. Very nice version. Tony goes over
to Bob and mouths, "This is going well." It was nice to be able to watch these interactions. The acoustics come out and Don't Think Twice's familiar
finger-picked intro begins. This was an excellent performance, the crowd was
very hushed except for during the refrain. But they were quiet again at the
beginning of the next verse. The musicianship was extraordinary, Larry played
prominently (picking), Bob's phrasing was relaxed, casual. The faces really
started to come out here. All sort's of facial inquiries, glances at
youngish girls. Eyebrow raises. Nice harp at the end. The crowd saw him going
for it and erupted. Lights down, I yell "Larry, make Bob play Visions" during
the break, and of course, the unmistakable intro to the song begins. My friend
mockingly agnores me then grins and I turn around to pay attention. Nice
yellow-orange lights...great, superb enunciation. The guitars were tight as
could be and intricate. Reminds me of Maine from 2/99 and 11/99. Everyone was mesmerized...people had their eyes cast upwords and the words fell in time
with David's carefully plodding drum beats. It was a really, really nice
version I thought. A lot better than most versions I've seen, on par with
others. A very nice treat, and one which realized my initial wishes
(mississippi and visions). And in one show again for the third time this tour!!
I wonder why. The crowd realized how good this was and really responded to it.
'Masters' started almost immediately and it was a great version. I've seen this
song four times. Twice I was unipressed. Both in August and tonight I was
duly impressed. The red-light background. Absolute clarity in his delievery.
It was as crisp a vocal delievery as I've ever seen. Again, prominent drums,
and a driving beat. The words fell so nicely, everyone was pretty quiet again
('cept for refrains). It was not a hindrance on the setlist in the least. I
think that it actually contends for best delievery of the night. My partially
deaf grandmother could've given a synopsis of the imagery present from the
back of the stadium. Electric...'Summer Days...' Wow, really nice guitar work
from both backing men. Just nailed the juicy riffs and carried the song. Well,
that and Bob's flawless delivery. This was turning into a very good show. Larry
looked at Tony at one point and motioned towards bob with the guitar neck. Tony acknowledged with a big smile and soon everyone was laughing at the maestro's
enthusiasm except for the maestro himself. He was probably laughing at us all
though ;). David streched out a bit and mimicked the complex drumming on the
album take. I was wondering if he'd hold back but he pushed and succeeded. This
is just a good song. If you don't like it, you're a bad person. Sugar Baby was
next and it was everything preached about and more. Absolute silence from the
crowd. Genuine hurt in the baladeer's face, in his eyes, in his overall body
language. The delievery was crystal. It was a close to perfection that I think
I've seen Bob reach in conveyance (is that a word? you know what I mean if
you're reading this far). Can't describe it, minimal noise from instruments,
except for that TOOM-esque vibrating resonance that coats the song. It's was
unbelievable. I didn't love the song after hearing L & T...I adore it now.
It's live realization is phenomenal and almost unconcievable. It's just that
good in concert. It really is. Tony thumbs-uped Larry and whispered something
to Charlie between songs. They knew that Bob was really into it tonight. What
followed was the best Cold Irons Bound by far that I've seen (I've seen six).
Purely loud and bluesy and David's drums were humming and it felt like the
apocalypse was coming. "The WINDS in ChicagO!...," Bob yelled, and the stadium
erupted back. It was another superb example of musicianship; of casual
shifting between rhythms, melody, everything. Lots of grinning during this,
lots of Bob dancing (which I've failed to mention was all over the place
throughout the show). He eyed everyone in the fron constantly, smiling, fake-frowning...bemusement in his face. Lots of letting go on this. Big
finish. Conversation and Tony cheerily mouths "Cats!!" to David and
Larry...Charlie presumably will figure it out. Loud as hell. Vocals
overridden...band intro in the middle (Best band in the laaa-and!)...another
big finish. Lights up. Grins and sloppy formation. Bob bows and chicken steps.
Breaks the line and bounces up to the stage a bit. Grins, frowns, points to
someone left of stage in dramatic fashion. The crowd's going nuts. Off and
on again quickly. I smoke my joint at this time and look-blazed and jolly to
a red-backed version of Love Sick. Standard 1st encore. Great delievery again.
Everyone on stage looking at everyone. Smiling. Pretending to get serious
again. This is one of the best Love Sick's that I've seen as well. So clear.
You could really smash with a stone, Dylan's delivery all night. It was that
tangible, that precise and clear and effective. LARS follows, reserved
seating people standing and swaying, drunk. Lots of young people tonite
(I'm 19)...between the jugglers verse and the last verse (the third being
skipped), Dylan takes about as long of an instrumental break as I've seen
in LARS ever. It's as though the players can't get the song to where Bob
can spit out lyrics about steeples and @!#$. They just jam for awhile, Bob,
Tony, and Charlie are mugging for the audience. Grinning...Charlie sits on
the drum stand and does a rockettes-style kick. People are laughing, Bob is
still riding this abnormaly long break. Finally song ends in typical,
never-excellent, but anthemic nonetheless fashion. Standing O of course.
Lights down, I want "Forever Young," as I've strangely never seen it. All
other typical options have been seen multiple times (dogs, released, etc.).
Very tender version with purple lighting. The front row was a mixture of
old and young and Bob seemed to be consciously focusing on the young the
entire night. During this song, he sang different parts to different
sections of the front row. All the youngins (like myself) were looked at
quite a bit. Lots of direct, eye contact and staring going on. Much more
than at any of the previous 15 shows I've seen since '99. He really focused
on the three-part harmonies and gave a great performance. At one point he
really tried to strech on a "Youuuuuung." He immediately looked at Charlie
and laughed fairly hard. Right in the middle of the song. I don't know how
many people saw this but it was hysterical. You could see, if you were
watching, that he was fooling around intentionally but it really worked.
'Honest With Me' follows...subdued sort of but still driving. The posing
and interaction of Bob, Charlie and Tony continue with more group mugging.
All with an eye to casual musicianship. They make it look very, very simple.
'Blowin' starts up immediately and the arena is silent. Girls next to me
starts crying, and the guy behind me yells "FREEDOM!!" at the top of his
lungs before "allowed to be free.." I don't know what to make of this part
of the concert. I admit that I was thinking about recent times, and obviously
it was affecting a substantial portion of the audience. The harmonies were
dead on and the final bars really felt like a cap on the evening. Enormous
standing ovation from a very large crowd. Formation. The players look at
each other, sort of stupefied and smile. The crowd has really been into this
and the band has responded. Bob gives another dramatic point at the object
of his attention, laughs, hops, and the band exit stage right. About 2
minutes later, when the applause is still deafening, they return for a
blistering version of 'Watchtower.' No holds barred, all the musicians are
laughing, not grinning, but laughing, dancing all over the place. Charlie
goes down on his knees a couple of times. It was quite a scene. Bob repeats
the first verse at the end of the song and does something very unusual. His final
line is delievered:"
KNOW.........WHAT...........ANY......OF........IT.........IS........WOOOOOOOOOOORTH."
Every word was given a beat and he really yelled them individually and with
substantial time between them. It was powerful. The audience went beserk and
the players lapped up their approval once again. Then it gets weird. They go
to leave but people in the front call for more while the whole arena is still
clapping. All of the guys look at each other and sort of shrug and laugh and
all us in the front all calling and yelling, cause it looks like they don't
know whether to go or stay. Girls in the front are hysterical, it's literally
a mess. A free for all. It was the most out of control I've ever seen a show i
n terms of direction. They obviously didn't plan to play more than one or maybe
two encores (like the longest shows of before). Then they all decide to put on
acoustics in semi-darkness. I'm looking at my friends shrugging and wide-eyed,
I'm as confused as they are. Bob's guitar tech runs to get the Gibson that he
had completely put away in anticipation of leaving. Charlie opts for an old
Fender sunburst instead of an acoustic and they kick into a @!#$ great version
of Knockin' On Heaven's Door. The place erupts. It goes beserk. It's insane
and Bob just sits there and nails the vocal, the intricate strumming, and the
harmonies. They're cohesive and powerful. Very special extra song in light of
recent times. Very nice that he chose this as an impromtu addition. The players
are looking all over. At the crowd, at each other. It was not common at all.
The song ends and the stage lights go white. Formation again and Bob points to
the same person. They take off their instruments. Then it all goes weird again.
Larry goes to exit but the front people, including me, are selfishly and sort
of jokingly, calling for more. While the move to go is initiated by Larry, I've
locked eyes with Tony and joking mouthed, "What, no more." This isn't grounded
in hope, there have been plenty of times when no one notices calls or yells or
looks or whatever. Happens all the time. But he looks right at me, grins, and
mocking puts his shoulder strap on after miming exhaustin. He then recoiles,
looks at me again, points and laughs. As if to say, sorry buddy, we've done
all we could have and more tonite. But then Bob looks over to him and says,
"One more?" Tony sort of laughs in response, thinking that he's joking. The
crowd sees this and screams in delight. Larry comes over, laughs, Charlie
doesn't know what's going on. The roadie comes out onto the stage and offers
Bob his signature series Creme Fender again. Bob takes it to the delight of
everyone, Larry runs to the Pedal Steel and 'Rainy Day Women' is launched. This
was just a joke. It was a circus. Tony actually sat on the far left side of
David's kit...the left @!#$ side. Sat down and played. He laughed, Bob laughed,
every damnbody laughed. Larry was trying to play with some semblance of dignity.
It was gloriously lost amidst everything. Bob played a solo and made up a verse
about "being stoned until you're plaid"...I'd never heard it. The next verse
was made-up too it seemed. He was laughing like hell throughout. Just a big
laugh-fest. Great fun. Came to a big conclusion. A roar went up with the stage
lights that could've shattered the walls. Bob gave about 15 more seconds of
looking. Maybe 25. Grinned, as did all the others, pointed once more to his
friend, and strolled off stage at 10:40, actually flipping his black cowboy hat
on his head and skipping off down the stairs. There it is. Why am I writing?
It's @!#$ 3 in the morning and I have a train to catch at 10AM for Milwaukee
tomorrow. This was one of the oddest experiences of my life. Without a doubt.
Unbelievable. I don't know what to say. Get a copy. Just...whatever....I don't
know what to write anymore. See ya in Milwaukee

Best,

Abe
U of Chicago sophomore

[TOP]

Review by Jason Blakeley



Saturday morning, October 27, 2001 - I was awaken by a knock on my bedroom
door, accompanied by a voice, "we're going to Chicago, to see Bob
Dylan"....followed by some sort of scream in an exclamation of delight. 
It was the voice of my friend Mike who woke me up, the one who argued the
night before that we should sleep late instead of getting up early to
start our journey to Chicago... he was going to see Bob Dylan for the
first time that night.  We arrived in downtown Chicago mid-afternoon, and
spent the day exploring the city.  At one point we stopped to listen to a
man playing with a harmonic 'round his neck, a guitar strapped over his
shoulder,  and a tambourine under his foot; he was singing "Don't take
your Gun's to Town", an old Johnny Cash tune.  He was blind and playing
for change and cheers near a busy intersection.  When the song ended, I
walked up to him and asked if he could play any Dylan.  "I probably know
more Dylan than anything", he replied, and proceeded to play "Blowin' in
the Wind", altering the chorus slightly singing, "the answer BOB DYLAN, is
blowin' in the wind, the answer is blowin' in the wind."  People walking
by seemed to recognize the song, most of them looked over and continued on
down the road, others stopped and listened, some put money in his hat
which sat on the ground next to his comrade - a dog named "Killer". We
dropped what we had in his hat and headed South. At that same time many
people walked passed us and towards the man now playing "Hurricane", I'm
sure a few of them stopped to listen.  Daytime passed quickly, and as the
night came falling from the sky we walked into the United Center.
  
     The band was out first, and soon after Bob was called to the stage. 
Dressed in a black suit with white stripes, and black shoes with white
flames, he stood on the stage; a place that for many years now he's
referred to as home.  The band started to play "Wait for the Light to
Shine", a glowing song with meaningful lyrics and a country twist, a great
opener.  The mandolin is powerful in this song, Larry plays it perfectly. 
After a quick pause, Dylan sang the words "Come gather 'round people,
wherever you roam".  The way he sang that first line stands clear in my
mind, the strength of his voice is luminious, and each string that
followed was played with grace and precision.  As the closing words of
"Times are a-Changin'" were sung, it occurred to me that this show sounded
completely different than the last time I saw Dylan, but I've come to
expect this and I now look forward to each variation.  Every song he
played captured my complete attention, and from the first song I was lost
in the show - too strong of a connection to put into words.  From this
point the concert was an act of magic, and Bob Dylan was the magician. 
The songs played from "Love and Theft" included: Mississippi, High Water,
Summer Days, Sugar Baby, and Honest With Me.  I could review each song,
but I fear it will serve very little purpose.  They all captured a
different emotion, mood, and significance that can't be touched nor
tainted.  I was most taken by Sugar Baby, I cannot understand how Bob
achieved what he did with this song, I thought it was impossible to reach
that level of performance.  20,000 went silent, and Bob had the spotlight
once again.  "It's Alright Ma", "Visions of Johanna", "Gotta Serve
Somebody", Don't Think Twice it's Alright", "Masters of War", "Cold Irons
Bound", "Searching For a Soldier's Grave", "Tell me that it isn't true",
"Cat's in the well" were also included in the first set.  Bob was truly
feeling this show, he was flawless with strong guitar riffs and perfect
word delivery.  The show never lost focus, each song rang true like they
were sung for me to use. "Visions of Johanna" was a masterpiece.  The
encore was nothing short of incredible, "Love Sick" put me in a daze,
"Like a Rolling Stone" woke me up, "Forever Young" made me smile, "Honest
with Me" rocked the United Center upside down, and left us all "Blowin' in
the Wind".  I thought the show was over at this point, judging from the
Dylan shows I'd seen in the past a second encore didn't seem to likely. 
Afterall, they just played 20 straight in remarkable fashion.  Dylan led
his band with ease and style, playing his solo's beyond what most people
think he's capable of doing with the guitar, backed by loud drumming that
was praiseworthy to say the least.  The band congregated, Bob was handed a
different guitar, and within seconds "All Along the Watchtower" was
jamming.  The reaction to this song was loud, and the band really got into
it.  An unexpected and touching "Knockin' on Heaven's Door" was played,
followed appropriately with "Rainy Day Women #12 & #35", the longest jam
of the night.  If you've ever wanted or considered seeing a Dylan show,
don't delay any longer. If you have ever liked any of Bob Dylan's music -
you will like the show he puts on.  I would even go as far as to try and
persuade somebody who saw a bad show in the past to give the man another
chance.  The music is cleaner, the words are clearer, the band is better. 
Dylan, remember, has been out there a very long time, and although his
tour is called the "Never Ending Tour", one day the final curtain will
fall.  Bob Dylan once said, "A lot of people don't like the road, but it's
as natural to me as breathing.  I do it because I'm driven to do it, and I
either hate it or love it. I'm mortified to be on the stage, but then
again, it's the only place where i'm happy.  It's the only place you can
be who you want to be. You can't be who you want to be in daily life.  I
don't care who you are, you're going to be disappointed in daily life. 
But the cure-all for all that is to get on the stage, and that's why
performers do it.  But in saying that, I don't want to put on the mask of
celebrity.  I'd rather just do my work and see it as a trade."

Jason Blakeley

[TOP]

Review by Jim Doran



This is my 11th Bob concert and by far the best . Bob came out at
around 8:15 with a sweet, wait for the light to shine. Times they are a
changn was next with an crowd pleasing harp solo . Its alright ma ,
Soldiers grave, and Gotta serve somebody came across smooth and clear.
I was actually quite pleased with the sound at the United center . It
was my first concert there and I had heard some horror stories but
there were no problems tonight . The show really took off with the love
and theft selections . Mississippi,High water,Summer days, and an
incredible Sugar baby . A rockin cats in the well ended the first set (
with band intros).  The first encore started with Lovesick,one of my
favorites, followed by a rousing Rolling stone, and an eclectic Forever
young. Its hard to fathom that Bob could improve on the album version
of Honest with me , but he did so and then some. Charley, Larry and
Tony were particularly animated during this newest classic. As many
times as I've heard Blowin in the wind , it just keeps getting better
with time . The only sad part about hearing it on this current tour is
that its usually  the last song , but not tonight . After a short
break, Bob and the boys came back out with a kick-ass Watchtower
followed by a gut wrenching Heavens door .Once again the boys take
their bows and leave the stage . One thing Ive Learned about concerts
is never leave until the house lights come on . It was almost comical
watching all the people who had left come running back up the exit
ramps as Bob and the band came out yet again . They brought down the
house with a hell raising Rainy day women . Taking his final bows Bob
looked like he could have played all night . Well its on to Milwaekee
tomorrow night . I dont think Bob will be able to top tonights show but
I'm sure he'll try .

[TOP]

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billp61@execpc.com

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Review

Chicago, Illinois
United Center
October 27, 2001

Review by Shawn Pulver

Review by Mitch Herbold

Review by Keith Poniewaz

Review by Daniel Kortmann

Review by Peter Kirstein

Review by Ryan Herzoz

Review by Abe Rondina

Review by Jason Blakeley

Review by Jim Doran

Review

Chicago, Illinois United Center October 27, 2001

Chicago, Illinois
United Center
October 27, 2001