Bob Dylan – Crystal Cat Paris 2002 Review

What an ugly cover art. But lest we judge the book by its cover, it is better to blindfold yourself as you listen to Crystal Cat Paris 2002. This was not an ideal time for Bob Dylan when it came to imagery. Everything else was on the money. His tour after the release of Love and Theft is a remarkable triumph, which blurred the contemporary classics in with the hits of the past, like the Time Out of Mind tour. For fans of that tour, there are some similarities here which may feel rather welcoming. Blowin’ in the Wind and All Along the Watchtower serve the show with something Dylan had rarely utilised up to this point. Predictability. While there are some credible, career-best moments on this tour, the consistencies of a few hits interspersed with new tunes are a tried and tested format which Dylan continues here. A great starting point for 2002 tour explorers can be found here. 

Not just because it is a collection of the all-time greats in quick succession, but because the material released around this time and featured here is well-performed and, by happenstance, are the standout songs of said albums. Things Have Changed features towards the end of the set while Floater gives listeners a rare live nod to a Time Out of Mind gem. Opening song I Am the Man, Thomas is a welcome cover and gives Dylan a chance to test the waters before launching into one of the heaviest moments of his on-stage career. A selection of hits which runs through I Want You, Desolation Row, It Ain’t Me, Babe, Highway 61 Revisited, and Simple Twist of Fate. An incredible presentation on paper, and in practice, it sounds tremendous. Dylan has shaken off the gruff tones of his vocal work and opts for a lighter touch to his voice here. It makes all the difference when he comes back for a second round of hits in the latter half of the show.  

Crucial to the success of this show is the instrumental strength at play. Simple Twist of Fate and Drifter’s Escape both feature a harp, the former with some of the most considered and earnest delivery in some time. Dylan sounds thoroughly connected to these songs at a time when he would be forgiven for blasting through the hits. Desolation Row is a real highlight too, the title of the song eliciting cheers whenever mentioned. Later moments in the show keep the energy of this two-hour set alive, with Not Dark Yet, Like a Rolling Stone, and Knocking on Heaven’s Door all brilliantly delivered and just as well received. There is a reliance on the hits here, which is more than fair, as it is what fans think they want. What helps this show more than anything is the consistency of the instrumental form.  

Irrespective of what he plays, what is now crucial to Dylan as a live performer is how he plays. A stripped-back version of It Ain’t Me, Babe offers those in the audience, and listeners decades later, a chance to experience a well-known song in a whole new way. The same goes for the rest of the material heard here, though the likes of Fourth Time Around and Visions of Johanna are particularly brilliant. This is about as perfect a set as you can get from Dylan around this time. Plenty of great renditions to be found throughout, most of which relay a fond love for the classics. It is something Dylan has not shied away from, and if he can keep reinventing these classics, then there is still a reason to listen.