Bob Dylan: a man of many hats — a review of the legend in concert

By Sean Hart
Argus Observer
Saturday, October 10, 2009 11:01 PM PDT

Lifestyle Editor Sean Hart’s Bob Dylan memorabilia includes a book, the three-CD set ‘Biograph,’ 1965’s ‘Highway 61 Revisited’ and, now, a ticket from a concert Thursday in Eugene.

EUGENE — He looked like a classy pimp who services the largest matador convention in Mexico.

Shiny, black shoes. Black pants set off by dark red stripes up the outer seam. A black coat with ornamental buttons on the chest, mostly hiding a red, unbuttoned shirt. And a headpiece reminiscent of a mariachi band singer or a Spanish villain in a spaghetti Western.

Though often pictured with curly hair in morning-like disarray, Bob Dylan has worn many hats during his nearly 50-year career as a musician. And the thin, black, long-brimmed flat-top he wore Thursday at McArthur Court on the campus of the University of Oregon in Eugene was as iconic as any.

The newsboy cap Dylan wears on the sleeve of his first, self-titled album in 1962 covers the head of baby-faced folk singer in his early 20s with a certain confident look in his eyes — like he’s already as important as anyone you’ve ever met. The top hats of his early career show an outsider deep in thought — a trendsetter in the infancy of rock ’n’ roll. The fedora he wears for “The Last Waltz” — Martin Scorcese’s 1978 film about The Band, Dylan’s backing group near the time he went electric — depicts a man who has overcame adversities, who faced hordes of booing acoustic-folk fans only to return to the top, wielding an electric guitar and a full band.

Now, more than 30 years later, Dylan has reinvented himself yet again with a Spanish-influenced cross between a sombrero and a porkpie. Sleek and elegant, the hat perfectly suited his all-black attire and his new blues-country, full band sound. And Dylan proved he is still a master of invention — in style and music, and the conglomeration of both.

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His new hat’s straight brim rested high above Dylan’s face. Whether it was the lights, the make-up or some sort of glow acquired from a half-century of limelight, when Dylan smiled — as he did throughout the show — the 68-year-old almost looked as though he could have been in his 20s.

He laughed. He danced — his feet alone put on a hell of a show as he constantly moved in ways that would make most 50-year-olds jealous. He orchestrated the band during pivotal points in the music with a look of stoic determination. And he succeeded in putting on a show that pulled in a standing ovation from a sold-out crowd with his last song, “All Along The Watchtower.”

The audience was varied. Half college-aged. Half 1969 reunion. There were as many bald heads as there were dreadlocks. The crowd was mellow and subdued most of the time, but, after each song, most applauded. After the show, I heard one person say they were bored, but the consensus was it was a great performance — age notwithstanding.

With his full band — three guitarists, a stand-up bassist and a drummer — Dylan performed a collection of famous tunes from throughout his career, including four from 1965’s “Highway 61 Revisited”: the title track, “Ballad Of A Thin Man,” “Desolation Row” and “Like A Rolling Stone.” He also played four songs from his 2009 album, “Together Through Life,” including “My Wife’s Home Town,” “I Feel A Change Comin’ On,” “Jolene” and his new single “Beyond Here Lies Nothing,” a song that epitomizes Dylan’s new sound.

Dylan has never been lauded for vocal talent alone, and, after 50 years of singing, his voice was more raspy and rough than ever. He didn’t seem to even have the breath left to hold out many of the long notes on some of his older songs — the lyrics coming in short, strung-together parts that didn’t last the entire length of the corresponding music. Yet, Dylan sang his songs well, as only he could do — with an understandable passion evident throughout, if only by strong-willed inflection and gutsy timbre. It’s not the voice of Dylan’s 20s, but, with the right ears, one can hear the entire 50-year struggle in the 68-year-old’s voice in 2009.

Dylan started the show on guitar and sang a few playing only harmonica, but he was behind the keyboard most of the night. Every song performed was rearranged to fit his new band. Each was an original version, far different than any recordings from the past, and the set was very cohesive. The blues-country style produced long, drawn-out songs with a full sound and driving instrumental breaks between verses — like something out of a Friday night honky-tonk on the outskirts of Nashville.

After more than an hour and a half set, Dylan and his band returned to the stage following a short break and poured all of their energy and emotion into the climactic ending, which started with “Like A Rolling Stone” and “Jolene.” Dylan then thanked the audience, introduced his band and tore into his last song, “All Along The Watchtower,” with the vigor of a 20-year-old.

As Dylan stood alongside his band accepting the crowd’s ovation after the show, he smiled again, appearing proud and content — successful. At 68, Dylan has, no doubt, proved that, and he continues to do so with modern performances like the one in Eugene.

He proved he is still a competent musician and performer. He proved his music — new and old — is still relevant to audiences of all ages. He proved his style and music can change, never becoming outdated.

And, above all, he proved he is, and will forever be, Bob Dylan.

Lifestyle Editor Sean Hart can be contacted at SeanH@argusobserver.com.