Two Nights in Memphis (in ten snapshots)
aka 10 Outlined Epitaphs
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Bob Dylan played two shows in Memphis this weekend, Friday and Saturday night. I wasn’t at either, but many people I know through the world of Dylan-fans were. So, instead of one long guest post, I thought I’d collect a handful of short ones from smart folks I knew would be in attendance. Everyone was given the same prompt:
Write one paragraph on a single thing that jumped out at you from the Memphis show(s). A song, a line reading, a moment, something that happened in the audience, whatever. One specific thing.
Below, find the responses. A series of small snapshots that hopefully give a sense of the bigger picture from two shows that, from all accounts, sounded pretty special (ie. a long instrumental “Watching” opening where speculation is he was playing guitar offstage). And, at times chaotic (some in-ear monitor problems that led to him leaving the stage for a bit on night one). Plus some recordings.
I’m calling it “10 Outlined Epitaphs,” which doesn’t really make any sense, but then again it didn’t really make any sense when Dylan titled his The Times liner notes the same thing either. Read them below.
The two shows Dylan and his band played on Friday and Saturday at The Orpheum in Memphis were not only two of the best shows I’ve seen on the Rough and Rowdy Ways tour, but they may well be in the top five of all the shows I’ve seen. These shows were special for many reasons. Hearing Dylan sing “Big River” on the banks of Mississippi right near Sun Studios where Cash recorded it and the spring tour new arrangements were certainly highlights. However, what stood out to me in particular was Dylan’s voice—the tenor, clarity, emotion, and strength. After a three-minute instrumental introduction to “Watching the River Flow,” highlighting the band members and leading to Dylan joining them on stage, Dylan’s voice and phrasing were my primary focal points. On both nights, he sang “I’m first among equals/second to none” with a bit more swagger than I’ve heard previously in any version of “False Prophet.” His expression‚a wry half-smile—only emphasized that swagger. Saturday night’s pause between and delivery of the lines “do you know what I mean? You know what I mean” in “My Own Version of You” gave me the feeling he was addressing the audience with a wink because we were in the initiated, understood the meaning, were in on the joke, if there was one. Dylan’s delivery of “Every Grain of Sand” was sublime and transformative. Overall, there are many things that made this weekend in Memphis and the shows so remarkable, but Dylan’s voice, his phrasing, and delivery of the songs resonated most deeply with me. — Erin Callahan
Some time in the last year, Bob must have taken his piano down to the crossroads in Clarksdale. His playing feels unprecedented—not just in the context of his career, but in wider contemporary music. No one else plays the piano like this. He has a couple of modes he plays in, and God how much he's playing. Night one found him locking into extended, funky chordal grooves to lead and redirect the songs while on night two he was more melodic and glissando heavy. The highlight was during the instrumental sections of “False Prophet” on night two—the piano solos felt apocalyptic, demonic, utterly inspired and worth the transatlantic trip by themselves. — Matthew Ingate
One thing from the first Memphis show, my eighth since 2021: Probably bossa nova “Masterpiece.” I’ve read there’s a whole story about the arrangement. Maybe it was the new line in “Gotta Serve Somebody” about a liar having his day in court not knowing if it started in the Florida shows not far from Mar-a-Lago. Maybe it was several songs with harmonica. Maybe that Bob left the stage after one song and came back as the band noodled in the next song. Maybe the suite that “I’ll Be Your Baby Tonight” has become. Maybe the great audience. But probably bossa nova “Masterpiece.” You could hear the absent maracas. — Sam Trumpold
Besides the obvious thrill of seeing Bob swear on mic, I’ll remember how pleased he seemed while posing at the mic at the end of that show, patting his chest, pointing at people, and grinning proudly. The next night he was more sedate; the show was great but the triumph was in the bag the whole time. Night 1 was a different kind of victory. — Adam Selzer
A few days ago in Nashville, I'm in front of a gigantic IMAX screen seeing 'Dune 2' and Timothée Chalamet puts his hand forward and says: "I see a narrow way." A couple of days later, sitting in a bench next to Elvis Presley's grave in Graceland and looking to the rouge leafs of a nearby tree, “If I Can Dream” is played and I'm nearly moved to tears: “And while I can think, while I can talk, while I can stand, while I can walk, while I can dream, oh, please let my dream come true.”
That same night in Memphis, the roughest and rowdiest and most troubled and confusing show I've ever seen by Bob Dylan is redeemed by the man himself with a second half in which he resurrects every nerve in my body and, by the end, I see a narrow way too. He has earned the right to be loved and thanked, and that's all I do: I run front of stage and find myself almost within touching distance of Bob. "Thank you!" and "You did it!" is all I can shout, and to my eternal surprise he looks at me and doesn't stop doing it. I keep thanking, and he joins his hands towards me, touches his chest with them and does a couple of bows. A mile and a half that felt like a couple of months. I don't quite believe in destiny, but I believe in narrow ways. — Sergi Fabregat
The power of the Rough and Rowdy Ways confessionals/dedications and the majesty of “Every Grain of Sand” delivered as expected and will be treasured; the weirdness of first night monitor problems is something to forget. What was new (at least to me) and kind of cool was the audience "woo!" during the piano/bass breaks during the second night “To Be Alone With Youuuuuuu”—playful and supportive, without being intrusive. Not fully manifested on my tape, but it was there. Audience was dialed in, as was Bob. My other big takeaway is that the Dylan touring community is comprised of a truly fine bunch of folks who I'm happy have become friends. Selah. — Stu Levitan
Memphis Night 2 was a whopping good time. What first stands out to me was the fun of “False Prophet” continuing into “When I Paint My Masterpiece,” with a singular band introduction sandwiched between the two. The excitement during “False Prophet” got the audience rocking and Bob seriously jamming on the piano. Then the transition into a slinky sultry new “When I Paint My Masterpiece” had the audience in his hands. It was pure shared joy as we watched the maestro do what he was born to do. The second peak, for me, which I can’t neglect, was “I’ve Made Up My Mind To Give Myself To You.” The harmonica introduction was transcendental and the whole performance seemed to be suspended in time. The whole show was on point, Bob was totally dialed in, and I’m grateful to have been there. — Olivia Whittaker
The one thing that stood out to me is sort of three things in one! Bob's vocal, piano and harmonica performances were the best I ever heard him. The band now seems to hold back a bit and on many songs play sparsely and focusing more on what they're not playing. Allowing Bob's best vocals to shine through and not hide behind an incredible cowboy band has elevated this tour and in particular these shows in Memphis. In addition to that, his piano playing is not just plunking around on the keys. He's playing beautiful melodies, fills and even solos! Playing the famous guitar riff from “Big River” was an amazing surprise and “Every Grain of Sand” is now closer to the original Bootleg Series version than ever before! All he needs is a dog barking next to him. — Henry Bernstein
I was present at the second Memphis show on March 30th to see the Bob Dylan ending with (no surprise) “Every Grain of Sand,” which this time was recreated so faithfully to the album take; with its twinkling picking of electric guitar and piano chords where they normally would be during the verses on the recording. Prior, Tony Garnier had just swapped out his upright bass for an electric guitar, yet to only hold it like a stone with both hands, through the majority of the song, as if in prayer, respect or devotion to what Bob was delivering in the moment. I kept my eye on that instrument and the motions, because Tony is usually a “lively” player, but it never happened until the last bridge/outro where a few bass lines were selected. It was in the absence of this particular live delivery that I felt closest to what originally drew me to this song, and reminded me that artists and performers can support songs as strong as this one, and make as big of an impact, by simply standing still. — Alexander Kish
What an incredible pair of shows—the same setlist each night, yet different and exciting in their own ways. The absolute highlight for me was "Every Grain of Sand." Besides being one of Dylan's greatest songs, it's one that has deep personal meaning for me. Both nights I began weeping as he and the band played it, so softly and tenderly, reminiscent of the album version, with a gorgeous, gentle harp break in the middle. In the years I've been going to see him live, I'm not sure I've ever heard him sing better—so clearly, with reverence and intent.
Saturday night, for some reason, most if not all of the two rows of chairs placed in front of the theater seats were empty. A handful of us took a chance and rushed to fill those front row seats for the very end of the show. I have never seen him that close before, and to basically sit at the master's feet while he painted his masterpiece, on Easter weekend no less—"I'm hanging in the balance of a perfect, finished plan"—was emotionally overwhelming for me. Then, to be able to tell the man whose music changed my life for the better "I love you!" at the curtain call, whether he heard me or not, is a memory I'll carry with me always. — Melanie Young
Thanks to everyone who participated! And thanks to gonzo for the tapes:
2024-03-29, Orpheum Theatre, Memphis, TN
2024-03-30, Orpheum Theatre, Memphis, TN
ICYMI, here is my own report on the two Nashville shows right before Memphis:
Two Nights in Nashville
Frank Zappa had a concept he called the “Big Song.” He claimed that if you listened to all his albums end-to-end, it all added up to one single song, one piece of work. The Big Song was more conceptual than literal—his songs and albums don’t all flow together like one endless medley—but I thought of the idea while watching Dylan in Nashville last night, at what will likely my last Rough and Rowdy Ways show.
Those were all beautiful, the comments and the clips - thanks. That last Grain of Sand was particularly special. The first time the song has really hit home for me.
Thanks ray another terrific article. What an awesome Spring tour bob and band are having. The master of innovation.