Bob Dylan – Every Grain of Sand in Athens Review

Give a nod of warmth to a Shot of Love rip. It gets you far when you head into the performances of those lesser-liked tracks. Every Grain of Sand in Athens may not ring any bells for passive listeners of Bob Dylan, but the year of its performance and the sudden surge of interest in Dylan to come marks it as a turning point. One of many. You could argue just about any performance from Dylan between 1989 and 1993, bar Stuttgart, is a sign of his returning interest in songwriting and stage presence. But Every Grain of Sand in Athens has the benefit of being around the time of Oh Mercy, a moment where critics and public alike paid brief attention once again. Attention, nonetheless, no matter how quick it fizzled. Brushes of acoustic guitar, a slam of the drums, and then, silence.

Somehow, in most Dylan live performances, there is a suggestion of two versions. There is the punchy thrill of a percussion-heavy occasion, the Like a Rolling Stone expectation of sudden change and stylish instrumentals. There is also the softer blow, the steadier acoustics and harmonica thrills which can be heard on Every Grain of Sand in Athens. A much slower style to the popular sound he carved for himself and yet so definitively Dylan. Maybe it is the long-term softening or the deeper dives into Dylan, but Shot of Love has a sweetness to it. Hearing those songs live, years on from the release of the album, is just as sweet. Tim Heidecker once covered Shot of Love track Lenny Bruce on a rainy night in Newcastle, England, and highlighted the utter absurdity of the song. But within that weirdness, the strange suggestions heard on the Shot of Love lyrics, is a sincerity. Dylan makes good on those light tones on the stage.

Considering how often Dylan is backed by band members, by extra, crucial instrumentalists, it is refreshing to hear Every Grain of Sand stripped back to its barebones essentials. The one man, his guitar and harmonica appeal of those early folk records can be heard in brief spots on this Athens-based performance. It is a real thrill, the silence to come from the crowd, either a mark of respect or awe. Perhaps it is both. It is plausible. Bold religious lyrics and the rewarding adaptation of a Book of Genesis story is what Dylan offers here. These are tones of a God-fearing musician, the reference to the “Master’s Hand” striking an awe for creation yet a fear of what else could come from the mighty power. 

Dylan is no stranger to gorgeous interpretations of his work, of the religious texts which guided his musical output in the 1980s. Every Grain of Sand in Athens is a delightful example of his adaptations of material which, on first release, did little for listeners. They now fill in the spots of the Rough and Rowdy Ways tour, they feel welcome, a soft spot of vindication for works of old. Dylan’s vocal strength on this 1989 performance is the real treat. He puts himself at the forefront, backed by nothing more than an acoustic guitar and harmonica. What he can do with those instruments is nothing short of magic. The tone he strikes, the open and liberated appeal of a song reliant on religious endeavours which so many songwriters have tried to grasp before, can be heard right here on this Every Grain of Sand performance.