Bob Dylan’s Curious Dotage

Dylan6 Tim de Lisle over at More Intelligent Life:

A few years ago a concert promoter took the BBC television series “Walking with Dinosaurs” and turned it into a stage show that toured the world’s indoor arenas. Seen from one angle, it was an enterprising move. Seen from another, it was quite unnecessary. The world’s arenas were already crawling with dinosaurs, in the form of old rock stars.

The early years of the 21st century have been the age of the veteran in rock and pop. Records are now trumped by live music, a field where the oldies can dominate. The golden age of popular music, the Sixties, is just close enough for the central figures from it to be still on the road. The Rolling Stones do a world tour every few years; Paul McCartney, with a small child to think about, does a short tour every few months. Brian Wilson of the Beach Boys, now a doddery old teddy bear propped up by a dazzling young band, turns out every other year. Simon & Garfunkel, not always on the best of terms, manage a month here and a month there. And then there is Bob Dylan.

Dylan tours even more than the others. In the 20 years to 2010, he gave 2,045 concerts, according to the fan site ExpectingRain.com, where you can study the setlist for every one of those nights. In April he will play in Singapore, Australasia and—if Beijing lets him in, after rebuffing him last year—China. In the summer he is expected in Europe. Not for nothing are his wanderings known as the Never Ending Tour.

Dylan’s gigs are unlike those of all his peers. If a show by McCartney or the Stones has a fault—apart from some creaking on the high notes—it is that it can be predictable. The Stones always play “Satisfaction”, “Brown Sugar”, “Jumping Jack Flash”; McCartney always does the Beatles classics he wrote himself—“Let It Be”, “Get Back”, “Hey Jude”. With Dylan, the only sure thing is “Like a Rolling Stone”, locked in as the first encore. Otherwise, he reserves the right to leave out any song. And often it’s a relief when he does, given the way he treats the songs he does play, which veers between indifference and outright sabotage.