Bob Dylan – Newcastle, England 1984 Review

Only the best share the field of St James’ Park. Sam Fender, Jonjo Shelvey, and now Bob Dylan. These three wildcards are of the finest calibre, Fender and Dylan, anyway. His 1980s slump was almost in effect though the consistencies of his live performance were right there for those who risked a live show. Should they be hit with tracks from Slow Train Coming then more power to them, though the hit-laden experience of this Newcastle show provides evidence of Dylan at his powers still. He just hoped to do something different, and it panned out in as horrendous a way as possible. Accompanied by Santana and Lindisfarne for a wild day at the football stadium, Dylan provides the closest many listeners will get to a live greatest hits set.  

From opener Highway 61 to the cushy inclusions of some stronger sides to 1983’s Infidels, the collective rush of quality is clear to hear. Those thumps of adrenalin and a need to power through certain tracks, the immediacy of the guitar work and the absolute thunder it brings on All Along the Watchtower are wonderful to hear. It is Dylan hoping to spark new fires in works of old. It works. Staple piece Just Like a Woman is quickly becoming a favourite of these bootleg and backlog tapes. It soon becomes clear why Dylan loves the song – to perform it live seems a real pleasure and hearing it is much the same, though this version is a bit out of step. Dylan sounds as though he is mocking his tone, but such is the tone of his voice he is surely not doing so. Even then, it sounds all the same. 

Loosened up with riotous instrumental fun, the likes of Maggie’s Farm and Like a Rolling Stone are thrown to the wild. A sense of static flows between these tracks, as though the band are waiting for applause after every piece – an achievement, not an expectation. Only when Hard Rain comes around does the crowd feel truly warmed up and involved. All of these tracks are a mark off of where they should be, it comes clear on Tangled Up in Blue. More than listenable and enjoyable but lacks the punchy poetry which brings them to life elsewhere – and it is perhaps the venue which causes trouble for Dylan. A massive place to play and carry those acoustic works over does not quite come through with this one.  

Newcastle, England may not be the shimmering success it was pitched as by those who remember it well – or those looking to cash in on the location now that its music scene is sparked up once more, but it is still worth a listen. Clunky and a tad distant at times though the walls of sound which come through on Masters of War and the stern vindication found in Ballad of a Thin Man are worth sticking around for. Those second-side bits of brilliance come not in the form of Mr. Tambourine Man or Blowing in the Wind but from the rocking independence of Enough is Enough and setlist essential Every Grain of Sand. Nicely mixed and remastered though it lacks the kick of a truly great Dylan performance.