Hearing the “ladies and gentlemen…” introduction of these Bob Dylan shows is a treat. What an introduction to a man who found his voice decades on from the drugs, the religion, the shame of losing his musical touch. St. Paul 2002 is as cool a set as it gets for the post-Love and Theft release shows. Dylan had an incredible ability around this time to blur the best of his discography with not just contemporary material, but covers, too. This is a magnificent show for all three of those spots are covered well. Neil Young, Warren Zevon, and The Rolling Stones’ songs feature in a set which also features classics from Dylan’s folk days and electric heyday. It is as perfect a set as a fan could ask for, passing or dedicated. Pair this dreamlike setlist quality with a strong soundboard rip and you have one of the very best concert bootlegs around, let alone from Dylan.
Opener Seeing the Real You at Last is as much a warning to the audience that Dylan sees them as it is a nod to gig-goers noticing his change. Hammering away at a keyboard, ditching the guitar for what appears to be one of the first times, is a massive change. It gives the songs a new depth, irrespective of how much or little Dylan slaps at the keyboard; the loss of a guitar on songs like All Along the Watchtower and Tombstone Blues is a fascinating listen. St. Paul 2002 does what Dylan sets out to do every show: reinvents the hits and deep cuts. Here, he and the band successfully blur the line between what constitutes a classic and what is one for fans of a more dedicated variety. Those who would hear this and know from the first two songs it’s a Charlie Sexton, Larry Campbell, Tony Garnier, and George Recile line-up on stage backing Dylan. Those who knew that, well done, it is an all-time Never Ending Tour band, to be fair.
Not every song is a perfect example of Dylan as a modern-day presence. Where Seeing The Real You at Last, Watching the River Flow, and Forever Young are magnificent, clearly performed treats, In the Summertime is a rough listen. His Shot of Love track was never a winner, but the gruffer tone Dylan now has on stage is at an extreme here. An interesting rendition nonetheless, and an early marker of the lighter tone these shows were taking. Lighter and lighter they would get. St. Paul 2002 is not just a collection of brilliant performances and covers, but a show where you can hear Dylan implement some larger, and ultimately permanent, changes to his on-stage efforts. Take a listen to those at-the-time contemporary pieces, too. Already, the likes of High Water (For Charley Patton) are sounding massively different to their studio counterparts.
A welcome change, too, it’s a chance to hear Dylan always experimenting. This is where we can hear the best of Dylan on stage. His fearlessness as a performer means his entertainment value is secondary to the artistry inherent in his performance. He is not keen to play out the usual pieces in an understandable or relatable manner. St. Paul 2002 is a magnificent example of how Dylan operates as a live artist, and the song selection could not be better than this. Brown Sugar and Old Man are not only two classic songs, but Dylan’s love for them is clear. Mutineer has featured in a handful of Dylan sets, and here it is magnificent. Pair that with songs like Blowin’ in the Wind and Love Minus Zero/No Limit in the latter stages of the show, and you have an incredibly high bar for the live show bootlegs.
