Aside from a reconfigured touring lineup (including Hot Club of Cow Town member Elana Fremerman and BR549’s Don Herron delivering a double-fiddle attack), Dylan’s latest method of spicing up his act is to inexplicably limit himself to electric piano. This decision wouldn’t present much of a problem if he was more proficient at the instrument. But instead of tapping a new well of inspiration, Dylan seemed distracted, delivering the songs as an afterthought. It’s a shame because many of his new arrangements are strong, including a truly thundering “Cold Irons Bound” and a keenly reflective, moody “Mr. Tambourine Man.” But Dylan rarely bothered to adapt his lyrics to the new settings, and song after song he eschewed meter and melody, letting the words pile up at the end of each verse. The effect was reflected in the reaction of one audience member when the house lights rose after the encore: instead of the standard lighter, he held his middle-finger high in the air.
At the other extreme of performance was Merle Haggard, Dylan’s opening act. The Bakersfield legend was unassuming and gracious. Throughout the all-too-brief set he wore his band The Strangers (according to Haggard, the “oldest beer joint band in the world”) like the fedora that covered his graying hair. His warm, mellow baritone has only improved with age. Whether on requisite tunes like “Mama Tried” and “Okie From Muskogee” or new songs that touched on his anti-war stance and playful attitude toward marijuana (“Marijuana and Martha Stewart are the greatest threats to this country today!”), Haggard seemed delighted to be onstage, and the audience shared his mood.
Representing the new guard was Philadephia’s Amos Lee, whose rich and varied warm-up set was a treat for the few wise enough to show up early. His mix of blue-eyed soul and rootsy rock set the tone for the evening, offering more promise than was eventually realized by the final curtain.
