Decades on from its original release and Under the Red Sky has fallen into favour with Bob Dylan and his audiences. It seemed unlikely the title track of an album featuring Wiggle Wiggle and excessive A-list additions from Elton John and Ringo Starr would ever return to the stage. It was destined to be like Dark Eyes, the closing song of Empire Burlesque. A rarity which is longed for, not spotted on every set of a recent tour. But it is a welcome step for Dylan, whose rearrangements of Under the Red Sky over the last few years have been a sincere delight. This version, from New York City, highlights a crucial truth of the song. A fundamental of Dylan’s work, which, even at his lowest career points, was unchanged. He remained an extraordinary writer; he just struggled to find the right instrumental tone. Here, he finds it.
Instrumental bliss is what this version of Under the Red Sky offers. Even to those whose ears have been rattled by live shows the previous night can enjoy this listen. Soft yet certain in his vocal duties here, Dylan brings a grittier version of Under the Red Sky to the stage. Those lives lived under that tinged skyline are evolving, even if Dylan does not mention as much in the lyrics. Fifteen years on from its release and the growth of the song and the characters within is clear. That is what makes the song rather sweet. The more time passes from its original release, the more it becomes a story of hope. Even with the Hansel and Gretel allusions, which amazingly did not become clear until this listen, there are still some charming moments. A sincerity which is based not in the truth of the world but in the hope of a future worth living, that is what Under the Red Sky is guided by. Holding onto that now is more important than ever.
But why a New York version? Not just because it was uploaded to YouTube last year, but because the instrumental overhaul is magnificent. What Under the Red Sky lacked in the studio was a clearer direction. It remains one of the lesser Dylan songs in studio form, not least because of the lyrics. But delivered with a better conviction, a more convincing angle from Dylan and his touring unit, it slots right in as one of his more comfortable offerings from the stage. Place is just as important as time for Under the Red Sky. Those desires to let the bird sing are established better here than they are in the studio, too. Who the bird is, what it develops into thanks to this song, it all comes down to how you view Dylan and his ongoing performances.
To hear Under the Red Sky is still a part of the setlist is sweet. It is a song which was misaligned at the time of its release but revived on stage, as is the case for many of Dylan’s 80s and 90s offerings. A new context is gifted to the song through this performance in New York with its gliding and light guitar work. It makes all the difference when coming to terms with the hope still present at the core of this song. There is still a sincere hope for change, a positive step in some new direction, presented on Under the Red Sky. Whether it comes to be is yet to be seen, but Dylan continues on with his tune regardless, incorporating it into the Rough and Rowdy Ways setlist of recent years.
