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“What’ll I Do” and “I’m a Fool to Want You” are long-lived standards, but there is nothing standard about how Dylan performed them Monday. But it was stirring and all the more moving for how he deployed his limited voice for maximum impact, even when singing mostly at a hush. It was not a virtuoso display - Dylan has never had the range, technique or disposition for such things. He hit and held notes that would have been unthinkable earlier in this decade. His voice, which too often has been reduced to a murky croak in recent years, sounded revitalized. Nearly every one of the weathered songs on both albums were previously recorded by Frank Sinatra, including “Melancholy Mood,” which Ol’ Blue Eyes cut with the Harry James Orchestra in 1939 and which Dylan crooned with unmistakable reverence at Humphreys. All seven were drawn from his two most recent albums, 2015’s delightful “Shadows in the Night” and this year’s equally arresting “Fallen Angels.” On Monday, these included “All or Nothing At All” and a fleeting but emotionally wrenching “Autumn Leaves” that was a marvel of finely calibrated intensity.

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Where he has sometimes felt detached from his music in the past, on Monday he sounded fully committed.ĭressed like a cowboy movie star from his boyhood days at a Sunday social, Dylan was equally committed when he performed seven Tin Pan Alley classics from the Great American Songbook. Happily, they did exactly that.ĭepending on the song at hand, Dylan sounded poignant or playful, rough or tender, wry and wise. And when Dylan nonchalantly sauntered a few times from center stage to stand in front of George Receli’s nearby drum set, it had more impact than any gyrations or choreographed routines by a flavor-of-the-month pop star and their hyperactive dance troupe.įrom the opening number, Dylan’s Oscar-winning 2000 gem “Things Have Changed” - which was taken at a more brisk pace than the original version and delivered with a sly tone quite different from the resignation of the recorded version -it was clear that Dylan and and his band were poised to deliver a memorable set.

As a result, simply lowering or bending one of his arms had a dramatic impact. When not playing piano, Dylan barely moved. That, no doubt, was by design, the better to emphasize that the music was the star of the night.

The stage was rung by vintage Klieg lights, which provided a moody backdrop and equally illuminated each band member, although none of them - Dylan included - too brightly. Accordingly, his Monday performance featured only two songs from the 1960s, “She Belongs to Me” and “Blowin’ in the Wind,” and one from the 1970s, “Tangled Up in Blue.” Five of the songs came from his 2012 album, “Tempest,” including “Scarlet Town” and “Early Roman Kings,” a Muddy Waters-styled blues stomper that found Dylan spitting out the lyrics like Waters and Bo Diddley in their respective primes.ĭylan alternated between singing while standing at a microphone set back from the center of the stage and while playing a baby grand piano. For the latest news, follow us on Facebook, Twitter, and Instagram.Decades ago, Dylan cautioned against looking back, well aware of the creative stasis that can envelop artists who rest on their laurels. The 10 Best Wines to Pair With Steak, From Cabernet to Malbec

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The Ultimate Guide to Wagyu Beef, the World's Most Luxurious Steak Register for Robb Report ’s Culinary Masters now. to 10 p.m.ĭon’t miss the food event of the year. Irregardless will be open Tuesday through Saturday, 5:30 p.m. Regardless of what you opt for, though, you can’t go wrong.

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If you want a taste of Irregardless without digging into the full menu, a la carte dishes will be available at the 12-seat bar. The Matcha Do About Nothing (vodka, elderflower, matcha, vanilla) is meant to be a lighter take on this season’s “it” cocktail, the Espresso Martini, while Once Upon a Time in Hawaii takes inspiration from a Negroni but showcases pineapple-infused mezcal. The rest of the drinks menu includes twists on classics mixed up by the bar manager Christine Cabatuan.