Passing a point of no return. That’s what it’s about – to be crossing the Rubicon. When the singer asks rhetorical in “My Own Version of You”: What would Julius Caesar do? – he of course knows the answer. Cæsar would cross the Rubicon, as he did in the most dangerous month of the year, January, the year 49 B.C. Even if some of his men crossed the river before him, the saying would forever be tied to Caesar himself. As was his “the die is cast”. No turning back, there is no turning back. Don’t Look Back! Keep on keepin’ on! It has been so many rivers to cross, and Dylan still insists to do what he thinks is right – what he think is best. Give him a river, and he will cross it. He’s saying to hell with all things that used to be! He’s sailin’ around the world full of crimson and clover, and sometimes he feel like his cup is running over, but shows no mercy, the Rough And Rowdy Ways Tour continues, The Greatest Hits tour will likely never appear, but we are still on the winning end. Like tonight.

Last night in Killarney was unforgettable. My expectations for this night were high. I’m in the middle of the second row, the baby grand in clear sight, I can the whole night see the work of Dylan’s feet, and his face perfect every time he stands up behind the piano. “I’ll Be Your Baby Tonight” starts out without any guitar, and the sound is perfect from the start, in the midst of an instrumental break I suddenly see a Mister Bean-ish right hand sticking out from behind the piano, slowly pulling a little table with drinks and some lights closer to the pianist, still playing the piano with his left hand under this operation. Great start, and I am soon to understand that this is one of those concerts where the artist makes us feel that every song is important, hand-picked, here for a reason, and a joy for the artist to present. This was that kind of show. “It Ain’t Me, Babe”, with ok guitar intro, but the vocals lifts the song and the audience’s reaction – an early highlight also this night. We beg to differ, it really is him we’re looking for. “I Contain Multitudes” – fine and flawless version, but it is with “False Prophet” something really is happening, Dylan works his timing and phrasing in this song in ways I’ve never heard before, and the audience just loves and cheers the stop/start-part of the arrangement. Dylan stands up, and for the first time he looks at the audience a short moment, without a smile, but not only inwards. “When I Paint My Masterpiece” with no guitar, it makes perfect sense when it comes to bring the right energy to the groove – some fabulous piano work on this one, Dylan throws laughs and smiles back to Anton Fig and Bob Britt, Britt smiles, too. We’re on a roll, the smile says. “Black Rider” is strong as usual, who should have known that this song would grow into this daily highlight with help of Dylan’s intense vocals and Doug Lancio’s acoustic guitar. “My Own Version of You” hits us heavy from the start, a storm of drums and piano from the get-go, let’s just hope that the roof stays on. The singer recites the lyrics with deep empathy for the project of bringing someone to life and turn back the years. Doug brings some fine acoustic guitar also to this one.

Even “To Be Alone To You” stands out tonight, Dylan is picking up his guitar and makes this possibly the finest guitar intro from him on this tour, at least from what I have heard. A really rocking piano solo reminds us of Dylan’s wish for this song, to have Jerry Lee Lewis recording it – that never happened, but tonight it really rocks by the songwriter himself. It brings the first real smile to Tony Garnier’s face, actually they’re all smiling now. Great stuff, Dylan almost seems proud!

Another fine version of “Crossing The Rubicon” – the audience’s response is like this should be one of Dylan’s greatest hits, the juicy and bluesy sound of it when it starts is irresistible, invites everybody on board, once again the start/stop-element makes people shout and cheer. There are some protests when Dylan sings that “in ten, maybe twenty years, I’ll be gone.” Understandable.

This is really a high-energy show – “Desolation Row” is coming with us at top speed, the piano like a train, competing with the drums like a herd of horses galloping through the desert – like rolling thunder. Dylan’s timing and phrasing is impeccable, and the audience’s reaction underscores that this performance maybe is the shining highlight of the night.

“Key West” – great version with great piano – Dylan stands up and smiles towards the audience for the first time. A satisfied mind.

Another surprise is coming up – “Watching The River Flow” – this time with an arrangement that makes an obvious contrast between the fact this is about sitting by the river in peace and watch it flow, while the music and, most of all, the pianoplaying, is simply on fire! Wow! Then Dylan is grabbing his harmonica and makes it the harmonica highlight of the night – he now plays a whole verse of intense and great blues harp, it would have made Little Walter proud!

“It’s All Over Now, Baby Blue” – a sad and beautiful version about another river to cross, another change that is coming, and Dylan’s vocal is filled with tears. Beautiful harmonica.

A fine “I’ve Made Up My Mind To Give Myself To You” is followed by a great “Mother of Muses”, like a march when the lyrics speaks of the war. It reminds us of the end of Dylan’s Nobel Lecture: Sing in me, oh Muse, and through me tell the story. The Muse might have heard the lecture. Dylan comments after the song is finished: “This really isn’t an easy song to play, but the band did a good job, don’t you think?” We do.

At the end of “Goodbye, Jimmy Reed”, Dylan is standing behind the piano for the last part, to enormous response from the audience, then nodding and smiling, even waving with a harmonica, before starting a touching version of “Every Grain of Sand”, ending with a very powerful harmonica solo.

Dylan and the band takes a bow before leaving us in the dark, but the audience want more, and they don’t give up the clapping and cheering – and, lo and behold, the band and the bard shows up one more time, Dylan waving and lifting his hands, touching his heart and then disappears into the night one more time. One more night. Tomorrow in Dublin. I’ll stand in line.

Johnny Borgan