Post-MTV Unplugged, the consistency of Bob Dylan as a live performer rapidly improved. Here was a man whose presence on stage was reduced to playing a few cover tracks, the usual hits and, if time allowed, one of the Oh Mercy or As Good As I Been To You songs. The latter did not inspire much confidence and with Dylan considering calling time on his studio efforts, the revolutionary feel of his return to acoustic efforts was a monumental moment. However brief it was, it was a shot of adrenalin he was in desperate need of, and unofficial bootleg Rising Tide charts the immediate aftermath. A little lapse in his interests, in his focus, was what derailed him. But Rising Tide is the sum of a man honing his craft with real intent once more – that is the crucial difference made, and it makes all the difference.
Relatively static and unchanged setlists, which are the norm of the Rough and Rowdy Ways tour bar a few changes here or there, are what you can expect from Rising Tide. Classics revamped and contemporary works of the last decade given a punchier placement. I & I is the peak of Rising Tide and remains a staggering effort from Dylan, the echoes from the stage only adding to this one. Dylan sounds emotionally raw not just because of his vocal warbling, but because he has finally hit a suitable stride which was paving the way towards Time Out of Mind. A staggering If You See Her, Say Hello, earlier in the compilation and Rising Tide kicks on well. Soft country influences can be heard in those instrumental arrangements and they provide a new bed of interest for Dylan to make up.
Rising Tide and Dylan to a wider extent during this tour were keen not to rely on the mega hits. Masters of War sneaks its way in but this compilation shows the main run of songs were the likes of Tears of Rage and Series of Dreams. Leftfield choices had proved their live quality in the past. Those consistencies were a given and it makes all the difference for Rising Tide, which is filled with crowd whoops and harmonica solos which are given some respectful silence. What comes across through all these songs is a buoyant feel from Dylan and the band behind him. Pin it all on closer Train to Cry, a swaggering, staggering rip which sounds perfect for those stuck on a platform and waiting for transport. Rising Tide is a swell of big, bold moves on stage for Dylan and each of them is paid off spectacularly.
They are loud. They are boisterous. Moments of genuine wonder from a tour which would rekindle Dylan and the instrumental fury he was lacking in a time before this. An ultimate companion piece to what we already know about Dylan at this time, about his shortcomings both on and off stage. He makes good on this rekindled confidence. He does more than make good. Dylan sets himself up on a new trajectory that has carried to the present day. A sensational surprise around every corner of Rising Tide not only keeps it fresh but maintains a new standard for the live environment. Those vocal stormers and instrumental consistencies do come at the cost of a streamlined setlist, but the trade-off is justified and needed in those pre-Time Out of Mind days.
