Bob Dylan and Elvis Costello – Tears of Rage Review

Respect between contemporary artists is not a guarantee. It’s nice to see it when that back-and-forth of influence is shown, as it is here for a performance of Tears of Rage. An unlikely choice, but with Bob Dylan and Elvis Costello covering The Basement Tapes song, it feels right. Both are pioneers of their respective genres, and the overlap between the two is clear. Costello has shared the influence Dylan had on him, and Dylan, too, clearly appreciates the Pump It Up hitmaker. But only one man has featured in a band deriving their name from the album Tears of Rage features on. While The New Basement Tapes may be forgotten, this performance of Tears of Rage should be remembered. A roaring performance of a great song, one of many in a seemingly endless discography. When you are scouring the internet for Costello covers of Dylan tracks, perhaps you are close to scratching the barrel through. But what an experience it is, and well worth seeking out.  

Those who have any interest in Costello or love for his work will be delighted with this cover. He’s a vocalist who has yet to lose that momentum his best songs carry. He can still kick on with a great rendition of Shipbuilding or Man Out of Time. Hearing him project his voice across small theatres is as impressive as his adaptation of Tears of Rage on stage with Dylan. A post-Modern Times showcase has the potential to slip into nostalgia-clapping joys, but this performance, like many of Dylan’s, revisits the song with new intent. It is not enough to adapt the song to the stage, not at all. A receptive audience is half the battle. Most sound delighted to hear Costello take to the stage, let alone cover Dylan’s Tears of Rage. Dylan is not as loud as Costello, that is no longer his style. It’s not like he was going to return to the Rolling Thunder Revue type of performance just to match Costello.  

What it means for Tears of Rage is relegating Dylan to backing vocals, echoing the range displayed by Costello. It’s not a passing of the torch but does highlight just how many of Dylan’s songs are capable of crossing the generational gap. Costello is now a generation behind the modern-day, but his effort here is incredible. That loudness creeps into the best parts of the song, and with Dylan occasionally heard in the background, it’s a borderline poetic echo which gives the track a new layer. Such is the purpose of Dylan continuing to tour. He wishes to find new meaning and life in the songs of old, irrespective of what an audience wants. Costello on lead vocals for Tears of Rage is a chance for Dylan to step back and assess what works with the song with its current delivery.  

Those moments are not as rare as some may expect. From a Patti Smith-featuring Dark Eyes to a handful of collaborations with Bruce Springsteen, Dylan has added fellow music legends to his shows as a means of hearing out a new side of the song. These tones are temporary, the words offered new meaning through a shake-up of personnel. It is what makes it all the more interesting to hear another artist tackle the song, not least when Dylan is on stage with them. Tears of Rage sounds magnificent with Costello’s striking vocal style, but it also has Dylan lingering in the background, an equally strong performance. Their pairing here is of a similar quality to the studio version, those biblical fundamentals blurring with protest-like imagery. It’s an outstanding piece of work which, like Masters of War, can be adopted in modern times.