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Bob Dylan 2000.05.21 Horsens, Denmark


Horsens Ny Teater
Horsens Folkeblad on Dylan.
Dylan i gavehumør (opasia.dk - Danish)
Three Concerts, Two Dogs and The One And Only Horsens 
by Karl Erik Andersen

Michael Niebuhr's report Carsten Wohlfeld's report Johnny Borgan's report MIchael Falch's report (in Danish, learn it!) Dennis Cleary's report at Dylanbase

From: mu41533 (dirtyfrank@get2net.dk) Subject: SV: SV: SV: Dylan in Horsens Date: Mon, 22 May 2000 23:21:12 +0200 A HISTORIC GIG IN HORSENS, DENMARK (May 21st Horsens Ny Teater) (witnessed by Michael Niebuhr) It's been over 2 months since I first read on Expecting Rain that Bob would play in Denmark. I got chills! I called the theater in question the next morning and got through. "Tell me about this Dylan-gig, please". They sounded confused. Then irritated. And I got "no comments!". They wanted to know where I had gotten the information from (I lied and said bobdylan.com) and asked me if I believed everything I read on the net. I got out of them that there might be some news on the subject if I were to call again the next week. Well, that night it was on the news on national television. Bob Dylan would give his smallest gig in 26 years in Horsens, Denmark. There would be 250 tickets sold on April 1st. Another 100 tickets would be given to sponsors. And a final (estimated) 75 tickets would be withheld for "the press", and some of these might be offered to people waiting in line on April 1st. at a later date. It was made clear that it wouldn't have been able to finance this thing without the help of the many local sponsors. It was also stressed that even the press had to pay for their tickets. I made arrangements to have a week off from work to go wait in line. I got somebody to take care of my dog for the week. The first person to form the line was there on Monday, as the tickets would be sold on Saturday. It was snowing. It was windy. It was freezing. I was speculating about how long I could stay home before I had to go get sick down there. Then I'm told that I can't get off from work after all and the whole thing is off! I'm a bit sad, but the whole thing is so otherworldly anyway, that I figure it just wasn't meant to be. I follow the growing line on the theater's webcam. It's approaching some 60-70 people on Thursday afternoon. Then things happen. I get a call saying that I'm free to go! I GO!! I'm off to Horsens with two pairs of underwear, a folding chair and a toothbrush. On the way I stop to get some money, too. I arrive at 8 pm, and what do I see? Everybody's having a real good time! There was no paranoia or anything remotely like that. It seemed like a scene out of Sound of Music, only Dylan-music. I was afraid I might have missed my chance already, as there's only 250 tickets and each person in line can buy 2. That means that being number 126, could be a very unlucky number. I ask where the end of the line is and I'm shown. I recognize my friend Flemming and he says "You made it!" and tells me to sign in. I sign my name and address in a little notebook and that makes me an official "liner". I'm number 104. Various people (that I know and some I didn't know at the time) are quick to offer me beers. There's bootleg music through loudspeakers. There's gas heaters put up for us to warm us by. It's okay to move around, you can even go out to eat, shop or to a pub. The theater has opened it's doors for us to use the toilets (from 11 am to 11 pm) or just warm ourselves inside the theater. There's a cafe/restaurant, too. A local butcher has made his toilet available during the nights. I chat with a few people and go to check out the bootlegs by the stereo. They look really familiar and I notice that one of the covers is in handwriting. Mine! Turns out the guy I borrowed them to decided to bring them along for everybody to hear. Didn't know what to think about that, just hoped nothing would happen to them. (I still haven't got them back) Then it's announced that one of the sponsors of the theater, a brewery, would like to treat us to a round of free beers. I go get one, and is tapped on the shoulder by my kid brother. He'd heard I had taken off in a hurry and brought me a sleeping bag on his own initiative. And a blanket. Well, thanks a lot bro! (It was just below zero degrees celcius at night) We're handed candles. I light one and sit down to take it all in. To try and believe my luck. A little later, the director of the theater shows up and says that the city has donated five books for each of us, as well as a flashlight. A little bedtime reading. Everybody gets books and flashlight. Suddenly a trio appears. A drummer, singer-guitarist and a double bass player. They happen to be playing next door, and give an impromptu half-hour concert. Cheers. It's bedtime and people start to unfold their sleeping bags and settle for the night. I go up to the stereo and join a group of people in a... Dylan-talk! About four hours later everyone seems to think it's time to get some sleep and we do. I wake up around 8 a.m. Friday morning. A guy next to me has made coffee and offers me some. A little later there's coffee for everybody, provided by the theater. And a little later again, there's bread and butter. The sun is out this Friday, and most people spend it with a beer in their hand in these most pleasant surroundings. In the afternoon cars start to roll by slowly all the time. Everybody's checking out the freaks. Thursday night's sleep was interrupted by disco-goers on the way home screaming "Bob Dylan reeks of piss!", "April fool's, haha!", "Didn't you know? He's cancelled!" and other brilliant, intelligent, adult stuff. Well, throughout the Friday people stare and stare at these Bob-people. These nutters. It's Friday night and the mayor of the city has put up a hot-dog stand. Free hot-dogs for everybody in line. They ask us if we think it's a good idea to put up a different stand selling beer. We think so. It's Friday night. Some girls and some guys (myself included) are asked to entertain a little. It turns out that the only "gear" available is a junior guitar (right-strung, I'm a left-handed) and a harp. Anyway, we decide to play Sara and Powderfinger (by Neil Young) with tree girls singing lead and us guys singing backup. We're followed by a real act doing covers. They have their own gear and sound really good. All of a sudden it's a real party and people are dancing. A tall blond girl asks me to dance. We dance. Everybody's happy. Everybody's happy! I talk to the nice girl all night and we decide to share sleeping bags (it was really cold). It's Saturday morning. I go to the local butcher to buy a little coffee. It's free. It's about 9 a.m. A city council official makes a speech. Then he pours free beer for everybody (remember it's still 2-3 hours until noon). We're asked to remain patient as a local sponsor wants to provide breakfast. They do! Hundreds of buns and even some cake, I think. And coffee! We have breakfast. Then everybody's handed a gift from the sponsors. It's a picnic basket with all sorts of things in it. From gum to cd's, to beer (again!) to chocolate. Thanks! It's approaching the time when the tickets go on sale. There's a lot of media guys there. There's been fear of people rushing to get the tickets, fights ensuing and so on, but the reality is quite different. The director calls people to the box office, "no. 36. No. 36. Please, no. 36. Everybody try and be more ready, now. No. 37. C'mon, no. 37." And so on. Everybody gets tickets and no. 1 gets champagne and hugs. The theater is divided into three sections. Floor and first and second balcony. The first in line gets tickets for row #1. All the sponsors and press get balcony tickets. There's A LOT of scalpers. About 50 percent of the people in line are either buying for somebody else (parents/family or friends) or with the intent of selling them with a huge profit. The director announces that he feels sorry for no. 126 so he will sell him two press tickets. Everybody cheers. Anybody who's interested (no. 127 and onwards) can go to the box office and submit their address. Should any seats be available at a later date these people will be notified. Whether this actually happened I'm not sure of. Flemming told me that the director wanted to know if there was somebody we the fans would like to give a ticket to. The people who were asked agreed on Karl-Erik Anderson from Expecting Rain. Who by the way did a lot of publicity for Horsens Ny Teater (the theater) by putting numerous links on his page. The director said that Karl Erik had also been recommended by Dan Levy. Mr. Andersen got a free ticket for the second row! It was a announced that a party would be held on August 26th so everybody could meet again. Everybody looked happy and went home. In the next couple of weeks people wrote and thanked the theater and the other fans on their homepage. Everybody agreed that the waiting in line was a onceinalifetime experience. What a joy! And everybody had felt terribly restless coming home... For days! Now it was 7 weeks until the day of the concert. I had promised my extra ticket to the guitar player from our band (Lovesick), but I also managed to obtain a third ticket for a good friend (and a huge Dylan-fan). Both these tickets were sold at face value. A couple who had waited in line invited everybody to meet at their house and garden before the show. The theater arranged for a Dylan-buffet at a local hotel. Fast forward and it's Sunday - May 21st 2000. I'd been checking the setlists from the rest of Scandinavia and I couldn't help hoping for something special. Something to signal that this was a special event. Well, my friends and I took the train to Horsens and got a ride to the farm where the pre-concert gathering was. We entered the garden and it was just beautiful. Like a miniature Garden of Eden. And no gates! There was a lot of familiar faces and the rest was just as friendly. Again, the media was there which was a bit weird. I mean what did they want? I don't know what the purpose of meeting there was except for spending the time before the concert with other people with a similar good taste in music. It wasn't front-page-material for chrissakes. I had to leave a little early to meet the girl from the line again. But just as I was leaving some guy handed out the lyrics to Forever Young and requested that we all sang it after Bob's last encore. As a tribute. I thought it was a little hippieish, but after a quick trial run (with the media filming), it was decided against. You didn't miss anything, apparently people have different perceptions of how to sing this fine song. (And in which key). At the hotel people were beginning to realise how close we were to the concert. There was a lot of chatting and mingling and a really nice atmosphere. A lot of people had dressed up for the night and I got the idea that this felt like being at one of those parties for someone you don't know, where you're just sorta there at the end of a looong table because you're with somebody. We got to the theater and there was lot of spectators taking it all in. We got in line, and was joined by "Face of the Eighties" (model) Renée Toft Simonsen and her rock-star boyfriend Thomas Helmig. Suddenly there was paparazzi photographers all over the place screaming "you look great, the camera loves you, uhmm, one more, yeah, yeah". I was further surprised when someone wanted MY picture. I kept looking away, but in the end she got one and confided with me that she was happy to have a picture of both me and the two celebs. Dumbfounded we went inside. Apparently the theater have been doing some lobbying. A friend of mine was to sell two tickets to someone of the Danish rock royalty, but he called saying he'd gotten one for free. So had a lot of other celebs apparently. Cause they were all there. Maybe they'd gone to scalpers, but I doubt it. So for you Danish readers who might be interested there was Filmdirector and Dylan-writer Christian Braad Thomsen, Dylan-writer and poet Asger Schnack, model and talkshow-woman Lotte Heise, cool rocksingers - CV Jorgensen, Sort-Sol's Steen Jorgensen, Allan Olsen, Michael Falck, Johnny Madsen, Sebastian, Bamse, former member of the Government Mimi Stilling Jacobsen, upandcoming singer-songwriter Marie Frank, Peter Viskinde, lots of clubowners and what-have-you. I mention this because I had feared what an audience of 50% sponsors and celebs would be like. Would they cut loose? Footloose? Would they feel as competitive as musicians usually do or would they scream their heads off? This is a fine theater. The floor is mechanic and there was not a bad seat in the house. When we were waiting in line in March the whole line was invited in to take in the atmosphere. The place is SMALL!! It's only 16 seats wide. We got to stand on the stage and to sit where we would approximately end up. We were told that Dylan didn't want anything between the stage and the audience so that would free up some seats. On the other hand he demanded that a lot of seats be taken out to fit the huge mixing and lighting desks. Also a lot of the balcony seats were reserved for extra lighting gear. There was virtually none of that at the show, so in the end they must've decided against that and gotten even more seat. There was an estimated 450 people at the show. In the press the following day you could read about how Dylan didn't want to be seen before and after the show. Before the show his bus with dark windows rolled up to the side of the theater and everybody was waiting for Bob to come out. At the same time a small mini-bus drove up behind the theater and Bob entered through a back-entrance. After the show two "Bob" came out of two different doors with towels over their heads and jumped into different cars and speeded off. THE SHOW It was 20 pm and everybody was in their seat. There was a smell of Nag Champa in the air. Soon it was 20:15 pm and the lights went down. "Ladies and gentlemen..." Everybody got on their feet and clapped like madmen, but then quickly sat down for Hallelujah, I'm Ready To Go (acoustic) The sound was fantastic from the very first note and Charlie and Larry's harmonies were right on the money. Larry played the mandolin. After the show everybody was asking what the first song were. Virtually nobody had heard of it. I was happy and knew this hadn't been played in 2000. I haven't checked but I don't think so. One of the biggest newspapers reported the opening song to be Roving Gambler. They also wrote that Tombstone Blues was excellent. But it wasn't played. Still, they gave the show a five-star review. My Back Pages (acoustic) Wow! Larry on violin. No Times They Are A-Changin'? Cool! This was very beautifully done. The acoustic set was really going strong. Pleasing, indeed. Ever since I heard this song on Bathed In A Stream of Pure Heat I've wanted to hear it done with Larry on violin. Everybody clapped and cheered and then we got Masters of War (acoustic) Okay, so we got one of the old war horses. Hmm. It sounded good as did everything. It seemed to me that Bob had turned the rhythm around and was singing almost "towards" the song. Interesting and well done. Throughout the concert Bob would take most of the solos. There was a lot of mediocre playing at those times, but nothing really fell through and occasionally it was quite good. Tomorrow Is A Long Time (acoustic) The third very slow song. We all cheered but it seemed that Bob had a very quiet concert on his mind. The sound was excellent throughout the concert. I'd been telling a lot of people that I thought it was such a kick when the first song just blew you away with sheer volume. But the volume stayed down. Now I was telling my friend and first timer at a Dylan concert (though he'd seen a bit at a festival five years ago) that he was in for one of his favourites - Tangled up in Blue. Instead we got the fourth very slow song in a row A Hard Rain's A-Gonna Fall (acoustic) Hard Rain and Masters of War has always seemed a tad "old" to me. It was just fantastic in '75 and I liked it in '94 in Japan. But in this slot it seemed a bit dull. Not because of the playing, but because of it's slot. Everybody was sitting quietly in their seats. A girl in front of me who lended me her theater-binoculars in every song had explained how her boyfriend was up-front and asked me if I thought there would be a stage-rush. I said it might happen in Tangled Up In Blue (acoustic) Well, it didn't. This was the song I expected to really get things going, but instead it was almost falling apart and nobody seemed to think it was special. No stage rush, either. And no harp solo. The Lonesome Death of Hattie Carroll (acoustic) Was really good. Soothing. I took it all in and it was just beautiful. Those three guitar players and the stand up bass. What a sound. The lights went down and it was time for the electric set. I was expecting Country Pie but we got a hard rocking Gotta Serve Somebody that really did the job. Now things were rocking. Everybody seemed to like this. And everybody stayed put and enjoyed a good show. Just as things was rocking we got another slow song (or beautiful heartfelt ballad, depending on how you look at it, right?) You're A Big Girl Now I've always wanted to hear some of the Blood On The Tracks songs live. I'd previously only run into Tangled and this was only the second song from BOOT that I heard live. Larry had switched to pedal steel. It was good but not stand-out. Larry switched to steel guitar and it was All Along The Watchtower time again. I'd previously heard this twice. As opener in '98 and show-saver in '96 (along with some good acoustic songs in Aarhus, Denmark). As always it was a little bit different. Not very fast, and as everything else not very loud. I'd been afraid that people wouldn't be enthusiastic towards specific songs and I guess I was right. There was the exact same cheer after every song. The exact same level of excitement. So either it was amazing all along and every song equally good, or people were being polite. For everything people stayed put, where I had hoped that for the faster songs people would stand and clap or dance a little to contribute to the club-feel. Instead we got a good chance to sit and and watch a master at work. Maybe this was what Bob wanted? I mean, he did play an extended acoustic set (compared to recent concerts) and kept the rockier songs in a short leash. My friend had a seat at the balcony and he told me how lots of people wandered off during the first hour, looking like they'd been eating nothing but lemons all day. Next up was a slow song from Time Out of Mind - Trying To Get To Heaven A wonderful song and very beautifully played. Bob introduced the band and Tony looked at Charlie who was messing about on his guitar. Tony shook his head and Charlie ripped into To Be Alone With You done as real rocker! He was giving the blues-element of this song a new coat of paint and it was just a lot of fun. That was the end of the "electric set" and everybody cheered and we got the first encore. I poked my friend and said "here comes Lovesick". Well, we got Ballad of a Thin Man Lovely choice, and nobody seemed to miss Lovesick too much. I've been getting into this song the past couple of months and I really appreciated it. At the beginning of the song I noticed that a small group had gathered at the right side of the front rows. Not dancing or anything, just staring at Bob. They looked harmless enough and none of the security guards gave them any hassles. So I walked down and joined them. Like a Rolling Stone Here was the chance to dance a little bit. And I did. Forever Young (acoustic) Was really beautiful. Here was the chance for people to sing along. And some did. A nice arrangement and a very, very clear and crisp sound. I knew it was time for Not Fade Away but didn't recognise the intro because it was Maggie's Farm with Larry on pedal steel (or steel guitar can't remember which). Somebody commented afterwards that this really wasn't happening, but rather falling all over the place. I dunno, I enjoyed it very much as a rockin' feelgood encore. Bob didn't leave the stage and we got It Ain't Me, Babe (acoustic) This was done very slow. At the end it seemed to drag on and on and I asked the guy next to me (who I'd talked to at the garden-party earlier) where he'd been sitting. He'd mentioned that he'd gotten tickets through a radio-show and was gonna sit in the seat normally reserved for the queen. He pointed it out and then somebody told us to keep it down. I was glad cos I hate that kind of behaviour, myself. I kept quiet and returned my focus to the stage. Bob was taking off his guitar and I figured he had broken a string. But he picked up a harp! There was a cheer from the audience and I was listening hard, trying to be receptive towards his solo. It only just got started and then after about 30 seconds he ended the song. It was time for Rainy Day Women no. #12 and #35 Bob was doing a lot of lead playing and some cool knee-bends. He would lift his guitar up towards his chin and do rock'n'roll postures when Charlie was playing lead. Cool version. Very good. Bob then almost left the stage (or did he leave?) and was handed an acoustic guitar and came back. Blowin' In The Wind (acoustic) This was done very firmly with razor sharp harmonies. Very nice, albeit more of a sing-a-long than a sonic adventure. Bob left the stage and there was a massive noise for minutes on end as everybody clapped, cheered and stomped their feet. Still, the lights came up in the end and it was all over. Bob Dylan, thank you! p.s. A nice roadie gave me Bob's guitar pick and a setlist. I was surprised to see that the setlist didn't have any alternatives on it. I had the idea that there would be several options for Bob to mix up the setlist depending on how he felt and what response he got, but the setlist read just what I've reported above. Except for the encores which read: Lovesick, Like A Rolling Stone, Forever Young, Not Fade Away.


From: mail@carstenwohlfeld.de (Carsten Wohlfeld) To: Billp61@earth.execpc.com Date: Fri, 26 May 2000 10:10:51 +0200 Subject: horsens review CC: Karlerik@monet.no Bob Dylan Horsens, Denmark, May 21, 2000 Ny Teater A Review By Carsten Wohlfeld So there you had it, the smallest Dylan show (as far as regularly sold tickets are concerned) since the early 60s, his smallest show ever in Europe, the show some people spend ridiculous amounts of money on. The „people had to queue up for the days to get ticketsš-show. A legendary concert even before one note was played. Now obviously we‚ve all talked quite a bit about the gig, but it was actually up to Bob to really give it the legendary status it deserved. I mean, small shows are not THAT rare for Bob anymore and do we still talk about Chicago ő97 or Melbourne ő98? Not really. Maybe we still talk about Tramps ő99, but that‚s because not only it was a very small venue, but mainly because Bob played a killer show. Anyways, we all hoped Bob wouldn‚t to „Timesš, „Tambourineš, „Lay Lady Layš and „River Flowš in Horsens and somewhat „ruinš our legendary expierence. On to the important stuff: Gunter (I‚ll be forever grateful to him for letting me have his spare second ticket... thank you!!!) and I arrived at the theater at around 4pm to meet and greet the usual suspects who where obviously there already. They even sold a few tickets at the door, because they had initally thought the soundboard would take up more space... The doors opened at 7.30 and we took our seats in the last row (which was not as bad as it sounds, cause we actually could do whatever we wanted without bothering anybody). The Ny Teater is a beautiful small theater, with a two storey balcony and since there was basically no space in the aisles left and right of the seats we knew very early on that there would be no stage rush tonight. Actually, the auidience was very well behaved throughout the night, an audience you‚d usually expect at a theater like this, but some people seemed to have forgotten that this was not Shakespeare, but a rock őn‚ roll show there were about to see... anyways. The lights went down at 8.15pm and there we were on the tiny stage: Bob, Larry, Tony, Charlie and David... „Ladies And Gentlemen Would You Please Welcome Columbia Recording Artist.... Bob Dylan!š. Much to my surprise Larry grabbed the mandolin and I knew it was time for my favorite among the current opening choices and a song I‚d never had heard before: Hallelujah I‚m Ready (To Go) (acoustic) seemed to have a new arrangement, slower than before, but every bit as good, with Larry‚s and Charlie‚s answering chorus vocal. It was apparent from the start that Bob wasn‚t singing was smoothly as he did during the first week of the tour, maybe this was due to the Scandinavian weather, maybe just due to the fact that he played too many shows in too little time, but at least he was trying and his phrasing was definitely better than the shape his voice was in. Great start, loved it already! Larry hands Tommy the mandolin and picks up the violin.... thank god, no „Timesš!!! My Back Pages (acoustic) Better than Zurich. Bob‚s singing wasn‚t as strong, but at least his guitarplaying was much better. He did only four verses I believe and at one point he and Larry couldn‚t decide who was supposed to do the solo, but it still was a very solid rendition. Masters Of War (acoustic) Oh well, the first song of the night that you usully wouldn‚t expect at a „legendaryš show, but then again, Tramps had a slow start with „Babe It Ain‚t No Lieš and „Timesš, too. They either tried to change the arrangement and failed miserably or David just wasn‚t concentrating - either way he cae in way too late and only when both Bob and Tony turned to him and seemed to tell him: „Hey, wake up, it‚s your turn now!š. The last verse was sung very well I thought, but all in all it was a minor disappointment. Tomorrow Is A Long Time (acoustic) wasn‚t as good as the incredible Hannover version a week ago, but it was just Bob‚s voice that made it slighty worse. Larry‚s backing vocal was perfect once more and if there‚s one song that he band seemed to have perfected, it‚s definitely this one. With one word: Lovely! It‚s A Hard Rain‚s A-Gonna Fall (acoustic) The usual arrangement with Larry and Charlie on backing vocals for the chorus. It still doesn‚t work out as they never know where Bob will pause inbetween the lines and it‚s always a mess. Obviously the song is too strong to be „distroyedš by such minor mistakes, but I for one think it would work much better without. And it was a very welcome alternative to „Tangledš in the number five slot, or so we thought until Larry hit the riff to Tangled Up In Blue (acoustic) „one song too lateš. Rotten version, too. They visibly don‚t enjoy the song anymore (at least definitely not as much as say 18 months ago) and it seems to have less verses now as well. I guess they are looking for a rocking acoustic song and Gunter and I have rattled our brains on the way back but there really seems to be no alternative in the „rocking/acousticš department, unless he rearranges one of the eletric songs to be an acoustic one. Anyways, the first lowpoint of the night had arrived. Fortunately Bob and his crew made up for it with the very next song... My jaw dropped and the did a completely rearranged version of The Lonesome Death Of Hattie Carroll (acoustic) that still sends shivers down my spine every time I only think about it. It was sooooooo good. In fact, it was perfect. The only think I didn‚t like about the current live rendition before was David‚s waltz rhythm, and tonight he hardly played drums on this song at all, save for the last couple of verses. It was a very stripped down version musically that was very good already, but it really was Bob‚s vocal delivery that made this such a KILLER performance. Very intense. He was talking rather than singing (cf. the current „Positively 4th Streetš), skipping the pauses after each line and even he though mixed up a couple of lines once (Hattie took out the garbage twice tonight :-)) the song still was the one single highlight of the show. Awesome! Gotta Serve Somebody was not only a nice alternative to „Country Pieš which was dropped from the setlist for the first time in Europe, but it was also a new arrangement. Yet another one! The band must‚ve spend a whole lot of time rehearsing lately! It lacked the cool „femaleš backing vocals that made the 1998/99 version so special, and instead it had similar start and stop parts like the newly arrangend „Cold Irons Boundš debuted in Germany and Scandinavia last week. Cool stuff! You‚re A Big Girl Now Nice version of a song that doesn‚t do too much for me. Larry on pedal steel, doing a great job as always. I really like the way he played the pedal steel as a lead instrument whereas Bucky only seemed to „fill the holesš. All Along The Watchtower Yay! Another song you probably wouldn‚t expect on a setlis that‚s supposed to be special, but hey, I still love the song, Charlie rocked and they seemed to enjoy it a lot (and so did the audience), so I guess it was alright that they did it after all! Trying To Get To Heaven was another semi-surprise and actually they did a pretty good version of it, too. You probably know that Bob usually skips the „shook the sugar downš verse, probably just because it#s on the bumper stickers they sell. Anyways, he skipped it again tonight, well, sort of, becuase when he came very close to the end and reached the line that was supposed to be „I‚ve been all around the world, boysš he subsituted just that one line with the „sugartownš line, which sounded very funny indeed. The song also had a reworked, extended ending that sounded pretty good, too. Band intros followed, Bob‚s only words to the audience apart from a „thank youš or two. To Be Alone With You was the very unlikely closing number and actually it sounded a lot like „Sweet Marieš when they started it. As you‚d expect, Bob mixed up all the lyrics, probably sang all the lines from the orginal but most definitely not in the correct order. Lots of soloing from all three guitarists, as well. Fun version, but not exactly spectacular. (encore) Ballad Of A Thin Man very strong version, although I still tend to miss Winston Watson‚s thunder drums. Bob played around with the phrasing quite a bit, his singing was probably the best of the night and Larry‚s pedal steel solo was excellent as well. The whole band seemed to enjoy playing this one a lot. Like A Rolling Stone Okay, after a main set that basically was a greatest-hits-free-zone it was now time to make the tourists happy. Judging from the audience‚s reaction it worked quite well. Makes you wonder who actually queued up for those three days... Bob played a rotten lead guitar, one and a half notes, punk rock 2000! Forever Young (acoustic) nicely done, but due to Bob‚s less-than-perfect voice it wasn‚t a real highlight. Maggie‚s Farm „Not Fade Awayš became the last song this year to get dropped from the set. „Maggie‚sš was the usual country-fied rock arrangement complete with an extended, modified ending. It Ain‚t Me Babe (acoustic) I still don‚t know why anybody wouldn do a seven song encore and apparently Bob and band don‚t know why either, because they tend to sound very tired at the end of the two hour show. Bob did play the harp at the end, but the solo was very short and not very good either. There was the traditionally huge cheer when he picked up the harmonica though. The fact the he didn‚t put it down properly on his amp again after he had finished but actually threw it away showed how much he enjoyed it, too, I guess. Rainy Day Women Nos. 12 & 35 Larry expected them to do „Not Fade Awayš it seemed as he plugged in his guitar and looked very surprised when David started „Rainyš and he had to switch to lap steel. It was the usual jam-packed version and Bob sang a third, improvised, verse tonight after all the soloing. Blowin‚ In The Wind (acoustic) Very short version (e.g. no real solo before the last chorus), tired, and quite boring. Not the best way to end a show that actually was quite special after all. I had a great time throughout, but to repeat what John Paul Jones from Led Zeppelin told me when I asked him what was on his mind when he became the first one Jimmy Page played his new composition „Stairway To Heavenš to. He said something along the lines of: „I thought it was really good, but there was no gold dust falling from the ceiling, when he played.š That‚s exactly how I felt about Dylan in Horsens. Carsten Wohlfeld -- http://carstenwohlfeld.de „love is not a victory marchš (leonard cohen)
From: Johnny Borgan (Johnny.Borgan@ephorma.no) Subject: Horsens, 21.5.00. Date: Mon, 22 May 2000 19:45:52 +0200 Yes - you all should've been there! Yes - it was a great and very special show! It was a beautiful day in Horsens, and me and my companions from Norway arrived early in town. Soon after this we catched a cab right to the-middle-of-nowhere (the cabdriver didn't have a clue!), Höjballe farm, a few miles from Horsens - a beautiful farm with the most amazing trees of life in the backyard, where fellow fans gathered before the show. Bob sang "Cupid" on the hi-fi, the birds sang back and forth in rhyme and we had a great time, meeting both new and old friends. After a great dinner at our new-found danish friends house, we left for Horsens Theatre, and there it was, just like the picture and the webcam - and yes, finally we could really believe the unbelieavable - we're going to the Horsens show! Even the audience got some audience this time. The citizens were showing up to see us get in! Horsens Town was not very well known, at least not among the norwegian fans, but now it's on the map once and for always - and will always be remembered because of this show, not just among the Dylan fans. And yes - it really was a small theatre - just 18 chairs at each row, two balconys in the back of the theatre. And me, blessed and lucky me, was on the sixth row! The stage was as wide as the rows, and the musicians got closer than on the other shows. Bob went on stage about 8.15, and from the first song we realized that this would be something really special - a new opener for this tour - "Hallelujah; I'm Ready to Go" is some prologue (and maybe an inspiration for "Trying to Get to Heaven"?) - and Bob is pointing back to his roots at this show as he so often have done before. He wants us to know that he stands in a strong tradition, he wants us to search back to the sources he's still drinking of. As on the other show I've seen this year, the sound was crispy clear from the first syllables. The audience reacted immediately to Bob's appearance. Nevertheless, my biggest disappointment this night was the audience. I'll come back to that. Larry fetched his fiddle and we got a nice version of "My Back Pages" who was followed by a powerful "Masters of War". Then we got some steel intro, and Bob sang a really, really tender "Tomorrow is a long Time", switching the order of the verses, maybe with purpose, maybe not.... And then came, for me, one of the nights highlights - "A Hard Rain's A-gonna Fall" - an intense and beautiful version with Bobs magical phrasing on all, and I really mean all, those great lines. It was a killer! Then it was "Tangled Up In Blue" - great version, but a song we've maybe gotten too used to to really listen the way we should? And then, another highlight, "The Lonesome Death of Hattie Carroll" - a great and dramatic song, this time sung in a way I never heard it before. Bob sang one line and started the next in the same breathing, (a little bit like "Changing of the Guards"! ) - it gave both the song and the singing a new and surprising twist, new dynamics - Bob really is a magician! And then Bob strapped on his Fender, and we were on for some really dirty, low-down bluesy version of "Gotta Serve Somebody", one of the best versions I've ever heard - the audience rocked, and it's funny to see that the prologue from the gospel tours this time get the same treatment and reception as a classic Dylan song. Bob really was on fire on this, his left foot was more in the air than on the floor! Really, really great, and another one of the highlights of the evening. By this time I was standing by the side of row one and had really great view, but two fascistoid guards didn't let us get to the stage, as we've been allowed on all the other shows I've been to. It was a really, really big mistake from the guards, knowing that Bob on all shows get fed and feeds back when the audience rises and dances in front of him. People gave standing ovations after each song, but sat quietly on their chairs, even on the uptempo rockers, even on Rainy Day Women, and, in my opinion, missed their opportunity to contribute to make the show really an historic event. The audience was too "dead", even if they all seemed to love the show! Too bad! I mean, a club-sized show with Bob Dylan, and 90 % of the audience is sitting down on a boogie-woggie-version of "Maggie's Farm" - that's not how it should be. We can't give the guards all the blame! Well, nevertheless, Bob continued a great show, and surprised us with a nice version of "You're A Big Girl Now", then launching into a perfect and very intense version of "All Along the Watchtower", featuring some great guitarplaying from Bob. With few exceptions the guitar was great in its own dylanesque way, commenting the vocal lines, playing it like a little drum, rhythm and solo in once. And then, the next highlight, and one of my personal wishes came true, a beauuuuuuutiful version of "Trying To Get To Heaven", Bob breathing new life to each and every word. His intense and dramatic delivery of the "Time Out Of Mind"-songs makes it a little disappointing that we only got this new song in Horsens. "Cold Irons Bound" was fantastic in Oslo, "Not Dark Yet" in Stockholm and "Can't Wait" in Gothenburg, "Love Sick" was great at all these shows, and is important in vitalising the tour as a whole. In Horsens just two songs at the whole show were younger than twentyfive years.... Each song was great, but Bob, you have so many wonderful songs from the last twentyfive years, too.... Ok - after "Trying To Get To Heaven", Bob introduced the band, and surprise, surprise - "To Be Alone With You" - a really rocking version, a great alternative to "Leopard Skin Pill-Box Hat" - but the audience..... sitting down..... urrrrghhh! The encore set was surprising, too, and it seems obvious that Bob really had planned to give us a "Horsens Special". In the place of "Love Sick" he gave us a really dramatic version of "Ballad of a Thin Man", making his 66-posing, and yes there were someone who didn't know what was happening. F.i., one of the reviewing journalists, positive as he was, wrote warmly about Dylan's versions of "Roving Gambler" and "Tombstone Blues" - two songs that were not included at all...... "Like A Rolling Stone" was okay, but not as great as the previous shows, the guitar wasn't too good either on this one. The show heightens again with an beautiful rendition of "Forever Young" - the audience singing and blessing Bob, thanking him for giving us this special event. "Maggie's Farm" rocks and Bob makes his little Bob-dance, but hei makes too many guitar-experiments and at one point the song nearly falls apart, but Bob and his great companions, gets it all back on the tracks a few seconds later. >From the rocker, Bob takes it all down with a very nice quiet "It Ain't Me Babe" - ending it without the guitar but with the harmonica - beautiful - why can't you blow the harp even more, Bob? - it's so naked, so pure, so true! "Rainy Day Women" is as usual, a crowd-pleaser, but this is the first time ever I've seen the audience at the first rows sitting down during the song - I guess it's Bob's first time, too! Ok, I will not mention it anymore.... Without any more breaks, Bob ends the show with a really nice "Blowing In The Wind", with Charlie and Larry singing great harmony at the chorus. And then - it's over - the lights and "Asleep At The Wheel" fills the air, and we all look at each other, knowing it really was something special - I could, in my mind, see Bob, sitting in his bus in the early morning, scrabbling down this unique set-list, that stands out from all the other shows so far - to make it really special for "the chosen few". He succeded. Not even did he change the set from Oslo by thirteen songs (!!!!), but he also played nine songs that I didn't get on my four previous shows. Who else would do such a thing, but the song & dance man, the trapeze artist, the line dancer we knows by the name of Bob Dylan? Who would take such risks at such a special night? Nobody but Bob! The audience loved the show, of course, but I really wish they'd shown him in a much more convincing way! Johnny

From the diary of
Michael Falch - Nye Rejsende


(Danish) Kørte med Viskinde i hans nyerhvervede Mercedes Coupé Cabriolet '63 for åben kaleche til Århus. Hørte i det fri på E 20 lyde, jeg aldrig før havde hørt. På Hotel Royal var "mit" værelse 414 booket til anden side, fortalte receptionisten hemmelighedsfuldt. Var det mon Dylan selv eller nogen i hans stab, der havde lånt det? Eller havde han bare booket sig ind for at narre fjenden og lå nu i stedet og vendte sig uroligt i sengen oppe på Radisson? Jeg måtte vænne mig til 404. Flere ukendte Krull-billeder på væggen. Hans Krull, Odysseus-maleren. Jeg bryder mig ikke om forandringer. Jeg har mest ro, når alt er ved det gamle. Og helst systemisk tilrettelagt, så overraskelserne bliver så få som mulige. Og gerne isoleret fra andre mennesker, end dem jeg lige er afsted med. Når jeg går ud ad døren, ryger skuldrene straks op, og verden bliver nervepirrende at bevæge sig igennem. Det er ikke verdens skyld - det er mit eget handicap. Måske den lille snert af autisme, der præger en del af os uden at ende i en decideret diagnose. Jeg kan somme tider drillende mistænke min kone for at have fattet interesse for mig også af denne grund. Hun er socialpædagog med speciale i autisme. Jeg skrev en ny sang næste formiddag til monstrøs klokkekimen fra domkirken på Store Torv. Flere konfirmationer, måske en enkelt begravelse ind i mellem. Skrev endnu en sang over middag og kunne være blevet ved, for der var hul igennem på alle kanaler. Men vi måtte videre sydpå - Dylan kom til Horsens. Hvis jeg havde været modig nok, havde jeg monteret en osteklokke omkring mig selv, da Viskinde og jeg skulle gennem pressehurlumhejet foran Horsens Ny Teater. Men som den civilklædte betjent sagde efter at have bedt Viskinde om at flytte den smukke Mercedes fra gågaden og så mit skeptiske udtryk: "Det hører vel med til jobbet". Mødte heldigvis straks Krebs indenfor i menageriet, men ellers var jeg bare, måske som de fleste af de 449 andre gæster undtagen Horsens flinke borgmester, som gerne ville have en glad snak, fokuseret på at komme ind i salen og finde min plads på 10. række som en anonym helle i trængslen. Hvilken lise, da mørket endelig sænkede sig over røgelsesrøgen i den fine scene, hvor jeg selv stod med De Nye Rejsende for halvandet år siden. "I am ready!", proklamerede Dylan i åbningssangen, og min koncert blev primært et psykologisk studie i, hvad denne parathed kunne sigte mod. Lyden formidabel og den ene rå perle afløste den anden fra "Tangled Up In Blue" over "Hard Rain", "Gotta Serve Somebody", "Tryin' To Get To Heaven" og sublime countrysange, en enkelt, jeg aldrig havde hørt før. Et ungt skotsk kærestepar fortalte mig senere, at Elvis engang indspillede den. "If my true love was waitin'...", sang Dylan. Hedder den mon "If Tomorrow wasn't such a long road"? Dylan med samme urolige attitude som i Forum for to år siden. Ingen social kontakt, udover enkelte cues til den formidable bassist, Tony Garnier. Guitaren af mellem numrene, to skridt til højre, to til venstre, på med guitaren igen og videre. Flakkende sideblikke uden focusering. Som et markant tilfælde af Aspergers Syndrom. Jeg sad og tænkte, at han ligner H.C. Andersen mere og mere. Ligeså uskønt ældet i de grove ansigtstræk, lige så kejtet, utilpasset og åbenbart utilpas alle andre steder end inde i sin kvadratmeters osteklokke på scenen. En grotesk, mekanisk figur, der vrisser sine guldkorn ud over os. Og uden et øjeblik at udstråle nogen form for nydelse. Det er en pine for ham. Det ligner tid, der bare skal gå. Han fandt åbenbart ingen varig ro i sit gudsforhold; der var ingen holdbar lettelse fra den tunge verdens byrde at hente for en Dylan. Der var større betoning af "the Devil" end "the Lord". Sangene minder om tunge klippeblokke, der modvilligt og glædesløst skal slæbes op ad bjerget. H.C. Andersen nåede måske en redning for sin smerte og sin styghed i sin himmelråbende naivitet og en grandios selvglæde ved det at føle sig som "et Lykkens Barn", som han skriver til slut i "Mit Livs Eventyr". "I vor Fremskriden mod Gud fordunster det Bitre og Smertelige, det Skjønne bliver tilbage, man! seer det som Regnbuen paa den mørke Sky", fortsætter H. C. Andersen. Dylan ejer ikke en stump af den Andersen'ske naivitet. Det er kun den mørke sky, der står tilbage som en sort glorie om hans tynde hår. "Sometimes my burden/gets more than I can bear/It's not dark/but it's gettin' there", som han sang. Dylan flankeres af to verdensklasseguitarister, men ikke én eneste guitarsolo i løbet af de over to timers koncert overlader han til dem. Han tager dem alle sammen selv. Jeg har en Fender Stratocaster magen til Dylans, og jeg påstår uden blusel, at selv jeg er en større solist end han. I hver sang repeterer han den samme lille solo-vignet, med den obligatoriske falske tone kilet ind. Enhver musiker ved, at den tone er en halv ved siden af, hvorfor den ikke nogensinde vil kunne passe noget sted i Dylans traditionalistiske akkordgange. Den lyder simpelthen rasende disharmonisk; den er en fejl. Det er en djævletone. Ufortrødent gentager Dylan den hele aftenen igennem. Som en diabolsk mantra, som en insisterende protest mod musikkens sammenhænge. Som en provokerende spytklat i verdens ansigt. Hvis hans osteklokke da ikke er af så uigennemtrængeligt panserglas, at han ikke selv opfatter det, kunne det umiskendeligt ligne hans indædte nægtelse af at bøje sig for Guds plan og livet! s vilkår. Jeg har set det hele; jeg har ingen drømme mere; jeg er slået, men jeg bøjer mig ikke, synes han at stædigt at hævde, mens han sveddryppende ruller sine falske Sisyfos-soloer som en alderstegen mand, der er nægtet adgang til såvel himlen som dødsriget. Som et frådende oprør eller måske som den sidste drøm, at den falske tone måske pludselig en skønne dag alligevel et øjeblik skulle vise sig at passe ind et ukendt sted i verdensordenen. Vi andre tror at vide, at det er et umuligt projekt, men Dylan har jo aldrig været én af os. Og dog, måske er han egentlig den radikalt destillerede version af vores ensomt flakkende menneske, kæmpende forgæves imod undervejs mod endestationen. Og endestationen ligner Dylans mål. Med en irritabel utålmodighed synes han at kalde på døden som frelse fra sine pinsler. Døden som udfrielse. "I don't even remember/what I came here to get away from", sang han. Han forlod bygningen og i følge en bekendt lydmand, der var involveret backsage, steg han direkte ud i en ventende bil med to bodyguards og en chauffør. Han blev kørt ud til motorvejen, hvor hans bus ventede, og så rullede Dylan videre i mørket mod Berlin, næste stop på sin Never Ending Tour. Jeg mærkede ensomheden som et hug i solar plexus, da jeg hørte lydmanden fortælle. Dylan rullende ned gennem Jylland med sit livslede blik ud over den stinkende kreaturforbrænding ved Hedensted. Helt alene bagest i luksusbussen, verdensfjernt fantaserende om den 16-årige pige fra "Things Have Changed"-videoen. Måske stadig med melodien i hovedet fra aftenens mest gribende højdepunkt: "If my true love was waiting for me...". Det gør hun næppe, for han har formentlig selv droppet hende undervejs. Og jeg ved af erfaring, at man ikke møder mange 16-årige erstatninger for den tabte elskede undervejs sydpå ad E 45. Det er ikke bare ved at blive mørkt - det er sort nat nu. Og himlen er vist lukket. Jeg kørte med Viskinde i modsat retning på samme motorvej, nu tilbage til værelse 414 på Royal. Det var ingen teaterforestilling, jeg så i Horsens Ny Teater. Så godt teater findes nemlig ikke. Så hård en forestilling ville man ikke drømme om at byde et Arte-publikum. Jeg sværger, jeg så Døden danse. Han havde Dylans sorte scenekostume på. Michael Ehlert Falch
2000: March - April - May

Tour