Bob Dylan – Portsmouth 2000 Live Review

Why this set, exactly? Bob Dylan fanatics will no doubt pick apart anything they can get their hands on – and rightly so. The master at work in so many live settings always brings up new tones and tunes, even to the tracks which they have heard a thousand times before. For those tuning into Portsmouth 2000, an exceptional BennyBoy remastering, they can expect one of the most varied performances of Dylan currently available. Plenty of hits, deep cuts, covers and Dylan plucking away on a harp for a couple of songs, the turn of the century offered the Mr. Tambourine Man writer a chance to reflect. He does just that – the first original song of this setlist is a gift of a track from Bringing it All Back Home.  

Its tone throughout is reminiscent of The Royal Albert Hall bootleg tape – an acoustic first six as the band fits themselves into place and brings out a full electric spectacle on the seventh setlist piece Country Pie. But before those moments of deep cuts and religious texts from the Slow Train Coming album are the expected hits which litter Dylan’s discography. Exceptional turns of form on A Hard Rain’s A-Gonna Fall and Tangled Up in Blue are a belter of a time, a second night in Portsmouth of all places coughs up some of the best turns from Dylan. Long-term Dylan guitarist Charlie Sexton is on hand and in fine form, joined by an otherworldly Larry Campbell who works on the steel guitars and sliding tones. He even hops on for some bouzouki work for It Ain’t Me, Babe. 

What comes through Portsmouth 2000 is a triumph of bootleg tapes sourced by fans. Opener Hallelujah, I’m Ready to Go will be a real treat for those who wanted more music which sounds like the work Jarvis Cocker and Richard Hawley put into place on Asteroid City. Portsmouth 2000 finds Dylan in his era of chewing up his songs and changing the momentum, pace and tone of them. It can be heard on Mr. Tambourine Man, muttered lyrics but strong observations which were later cleared up in his Rough and Rowdy Ways tour two decades later. Most of these works are wonderful for their elongated instrumentals, rather than the presence Dylan can still bring but struggles to work with. Portsmouth 2000 strikes as a crisp and fresh work from Benny Boy who brings out the best in the instrumental works here – though even Dylan can be irresistible on the electric side. 

She Belongs to Me is a particular highlight, shimmering guitar work which is Sexton at his finest with a raspy Dylan back in fine form. Solid works of Like a Rolling Stone follow the real reason these deep cuts and remasters are listened to. Everything Is Broken and the deep cuts are a treat. This is from an era where Dylan shook up his lyrical style and led some in attendance to this confused state of waiting to hear some words they could pick up on and later identify as the track they thought it was. Instrumental changes and a real turn from Dylan in this one mark the September 25 show as a legendary one, consistent and stuffed full of hits – not that you are likely to note them immediately. He masks them well with swift instrumental work and it makes all the difference for this desire to be fresh and exciting.