What a set. What a lineup. Bob Dylan at San Diego Open Theatre, 2002, is a fine edition of the ultimate instrumental lineup. Charlie Sexton on guitar duties with Larry Campbell on everything from a mandolin to slide guitar. Dylan has always had a strong collection of musicians on stage with him and this performance, filled with hits and deep cuts, is a committed balance. Few can manage the sway of a set quite like this, and from shock appearances of If Not For You to familiar closer All Along the Watchtower, everything falls into place well. A near-complete collection of this live performance (lacking opener Maggie’s Farm) is a treat of a listen. It holds within it the likes of Love Sick and Mutineer yet still finds time for Tangled Up in Blue and all those other familiar favourites.
But we do not flock to every live set to hear those same songs played time and again, though the quality here is much the same, if not better, than other recordings of the time. Dylan performing a song which relied on the creative input of George Harrison is a treat for the ears. His grumbling, gruff era of vocal choices is still a slightly bitter pill to swallow but the reasoning behind it begins to make sense. It is a new interpretation of his songs, a way to throw listeners off and have them focus on the instrumental fury of Sexton, whose guitar work throughout this is overwhelming. Case in point, Tombstone Blues. There is a joy to the instrumentals here which only works when you do not quite realise what song it is. The giveaway is the title. For the keener ears, those without the tinnitus rattling what is left of their brain, it is easily identified. But amid the instrumental range and the whooping crowd, it is easy to lose yourself.
Rarities make the difference for this set. A cover of the exceptional Van Morrison track, Carrying a Torch, is one of many remarkable surprises. One of those constantly running shocks is the instrumental variety found on those usual suspects. Tangled Up in Blue has a bouncing, lighter appeal to it here. Head deeper into the set, once the band has found a groove which suits them, and the likes of Love Sick border perfection. Raw guitar work and a powerful voice from Sexton and Dylan are a wonderful pairing which has all the motions of a delightful double bill. Their performances together are some of the best available and this is no exception, San Diego Open Theatre, 2002 is a brilliant occasion.
Ultimately it is the connection to a gig which makes it special. Some unique reason for your attendance being the reactive substance. Homecoming shows, the debut of new material, all those moments make for a wonderful break from the norm. And while Dylan does plenty here – more with the cover work than anything else, it is the spectacular fashion in which he holds himself and the band. Their consistencies are our joys, and in turn, it makes for a remarkable set. Filled with surprises and performed to a standard expected of those who spend the day listening to Dylan’s deep cuts and live recordings of shows they can only experience through audio recordings decades later.
