Bob Dylan – Live at Cadillac Palace Theatre, Chicago Review

This is no ordinary stop on the Rough and Rowdy Ways tour. It marks a massive change to the setlist, a rarity for Bob Dylan, whose consistencies as a stage performer are tightly tied to a similar experience from show to show. Live at Cadillac Palace Theatre in Chicago, Illinois, is a break from the norm. A necessary one, but a rare experience too. Three covers, a healthy dollop of tracks from the latest album and a sense of longevity, reignited by Dylan, where the perception from the public of constant career revivals is around every corner. If there were ever a show to highlight Dylan as a strong live performer, much to the dismay of those who see him just to say they have done, it is this. 

Covers of Born in Chicago from The Nick Gravenites John Cipollina Band, Truckin’ from Grateful Dead and Killing Floor from Howlin’ Wolf, a live debut for the third, make this a truly special set. Dylan and the band bring about one of the best introductions to a live set available with the wonders of Born in Chicago. His covers often pay tribute to the city he travels to, an artist from the area or a song holding the city high acclaim. For those rare moments which swing through, the upbeat rhythm and blues spectacle here is like a time machine to the glory days of smoke-filled rooms and bands liberated by a need to pay a brutal way through the modern world. Step back in time, then, with this Dylan set – filled with opportunities from the man on stage to reflect on the 1960s.  

Beyond those wonders of cover songs are the essentials of the Rough and Rowdy Ways tour. Crossing the Rubicon is an unchallenged beast in this set – a continually brilliant and evolving track where Dylan passes the point of no return, as its title puts out there. But it mirrors in this set, a new age for Dylan and a new style to play with. His confident approach to these shows feels bolstered by the Rough and Rowdy Ways album, the euphoria of clashing piano notes and howls buried deep within this set is one of many indicators of the new wind in Dylan’s sails. It is easy to throw a line in about a rejuvenated approach or a new high, but Dylan had not been this great in the studio since Time Out of Mind, and it is a warm and inspiring feel to hear he carries this new form to the stage. 

Great pace and a few bells and whistles added within to give those in attendance of this spectacular Dylan set something to brag about, the band is in fine form for this Chicago appearance. Key West (Philosopher Pirate) sounds warmer here than any other recording available at present. Dylan marks a few harpsichord appearances too, sprinkling this desire to trial new instruments throughout a set so dependent on Bob Britt and Doug Lancio on guitar. Their work comes together neatly, tying the rhythm and blues together as Donnie Herron marks a journeyman effort through lap steel additions, those soft and barely audible notes which, without them, would make these songs less lively. Dylan is still an exceptional live musician, though he has shifted his presence to the music, rather than this deity-like perception his dedicated fans have.