Bob Dylan – I’ll Remember You (Acoustic) Review

Misaligned the album may have been on its release, Empire Burlesque has received a warmer reception in recent years. Part of that is finding beauty in the wordplay provided by Bob Dylan. It was already there, but buried underneath synth-pop tones. Dylan chasing that sound was a peculiar time, the start of what may be his worst period as an artist. Clarity as a writer is present throughout most of these releases, irrespective of the studio stagnation they are paired with. Few, if any of these songs, are complete duds. Dylan finds the beauty that few did in I’ll Remember You by switching out the instrumentals. It’s as clear an argument in favour of his constant changes on stage as any. A song which sounds dreary in the studio is turned into a beautiful and appealing piece in his live show from Nuremberg, 2002. Inevitably delicate is the tone I’ll Remember You takes on.  

What more can you get from an acoustic guitar and a seasoned voice on the stage? I’ll Remember You is a song taken for granted, and understandably so. Take a listen to the studio version of the song and you can hear very little worth loving. But those dedicated few, Dylan included, will take a song like I’ll Remember You, or another Empire Burlesque rip like Dark Eyes, and stick with it. It’s an occasion of interest, a moment where nothing quite fell into place as it should. Decades on and experimentation allows for Dylan to reshuffle these themes and ideas, always present on I’ll Remember You, but lost in the mix. The post-Love and Theft tour from Dylan had him toying with acoustic and electric guitar work in a highlight reel of hits, and occasionally, he would bust out a rarity like this. Not because he wished to challenge the crowd, but because he wanted to do justice to songs deserving of better reception.  

Dylan is right to play up the acoustic style of this one, not because it reflects on his past successes but because it’s simply the most suitable tone for the song. It’s one of Dylan’s great love songs and, had it been released with this acoustic charm and the subtle yet strong drumming of Jim Keltner, it would be one of his best. That fine balance between sickly sweet charms, of roses and woodland settings, and the sense of change. I’ll Remember You highlights an all-giving love that still was not enough for the person it was written for. A gut-wrenching song, well-received by the crowd and performed brilliantly. Vocally, this is Dylan on the slow road to gruff and grumbling performances, which would become a fixture of his sound a decade later. But we are not there yet, and I’ll Remember You is a staggering example of love as a frank experience.  

Drifting sentimentality is often stronger than clear-cut messages. Dylan incorporates both here. His reminiscent tone is charming, and the strength of his acoustic guitar work gives the song a surprising edge. A slower tempo makes a huge difference here. Many of the songs Dylan played on the 2002 Never Ending Tour are tinged with reminiscing, reflective moments. Not because Dylan is aiming for that, but because it is an inevitability of returning to songs which are hallmarks of the genre. Songs of death, of love, and of the cultural sway, will either reflect the times or today. Rarely is it both, but a song like I’ll Remember You had potential. It missed out on that because Dylan, ahead of the curve as he so often was in his career, began attempting mimicry of popular tones. He returns to what he does best with this rendition, a startling moment from his decades on stage.