As long as I can remember, I’ve wanted to go to one of those old-fashioned tent revivals like you see in the movies.
The ones where people crowd in on a hot summer night, under glowing lights, where everyone is scream-singing, sweating and fainting, having the devil driven out, and the spirit channeled in.
When I recently saw my favorite artist, Paul Simon, perform at the Ryman Auditorium in Nashville, Tennessee I think I was as close to that fictional old-fashioned revival
as I’m ever going to get.
From a melodic, winding build-up to the electrifying, three-encore finish, Simon and company, promoting new album
So Beautiful or So What, gave an incredible performance, proving an aged rockstar is a rockstar nonetheless.
My journey began several hours before the concert when I left my central Indiana home and made the trip south to tourist nightmare, Nashville. I’d never been to the Ryman before, but had been told ahead of time that the acoustics were excellent, it would be one of many observations of excellence I would make through out the night. Having bought the tickets months prior; which weren’t cheep, upon entering the theater, it was clear that the early purchase and expense were necessary. The theater is small, surprisingly small. It was more like a high school auditorium, a tiny arc with a balcony, and from my seat, I could see nearly every other one in the place. It only took moments to be lead to the seats, which were so close, that had I reached to my right, I could have been leaning on the stage.
Shortly thereafter, I started scanning my ticket, wondering if there was going to be some obnoxious opening act, and how late from the start time the show would actually begin. I looked over the crowd, there were people of all ages present, from teens to senior citizens, and many of them were snacking on hotdogs and drinking out of glass beer bottles, something I can’t help but notice as odd after some of the experiences in pure chaos dubbed ‘concerts’ I’ve been to in my life.
The unusual setting took some getting used to, I was surprised to find the seating was actually pew-style benches. I’m not what you would call “a people person”, and I’m really not for having my personal space invaded, but I decided to suck-it-up, and not let anyone else distract me from the show, regardless of how close they were to my person. Which is why I should mention, I am a particularly vicious concertgoer, I don’t let anything interrupt my musical experience. I elbow, step on toes, and dance with abandonment, blocking the view of anyone behind me. Unfortunately though, there was almost no room for my regular antics. As seems to be the norm at Simon’s concerts, the crowd tends to stay seated through out the show—which is like murder to me. Luckily, I’m a professional car dancer, so I managed to polish my bench seat by bouncing around in it, and drumming along on my now bruised legs, through the majority of the show.
Just as I was getting used to the close quarters, the lights dimmed, and right on time, Paul and his band took the stage. After an enthusiastic welcome from the crowd, the show got off to a mellow, thought-provoking start, with “Crazy Love Vol II”, and “Slip Slidin’ Away”, I wondered if this was going to be the tone of the evening, a very intimate gathering, perhaps catering to an older crowd. Which, turned out to be the exact opposite of how the show proceeded. The subtle start seemed to be a clever way to test the crowd, to see if we were paying attention, before busting out the fan-favorites and hits of his illustrious career.
The energy started to build with a cover of Jimmy Cliff’s “Vietnam”, and from then on, each song was reflective of a different location, culture, or type of music, making for an around-the-world-in-80-days-in-a-matter-of-hours, event. As the excitement rose with “That Was Your Mother”, “Rewrite”, “Diamonds on The Soles of Her Shoes”, and “Gumboots”, so did the vigor of the audience. It was like the entire place had taken on a surreal, hypnotic, feeling, vibrating with the combined display of musical genius, and thrilled fans. As the show went on, it appeared that most of the fervent audience members had begun to have unique spiritual experiences, and midway through, I had my own spiritual confrontation.
Typical of Simon’s live performances, the arrangements of the songs, and lead-ins are different than what you would hear on the records, which makes for an interesting, textural live experience. After a distracting lead in, the first few notes of “The Obvious Child” kicked off, and the crowd surged with excitement, while I, stunned, didn’t even realize at first it was happening. As far as I knew, this was not a song that got much live play, and as it is my all-time, number one favorite song, it didn’t occur to me that it would actually be part of the setlist! Nevertheless, I found myself in a surreal moment of sitting stage-side, watching my favorite song be preformed by the man who created it, and drumming the best drum solo in the world on my legs as it was happening in real life.
I was still
reeling for next couple of songs, but by the time “Gone At Last” came up, a lesser-known, rock-gospel piece, the entire tone shifted again, and everyone was finally on their feet, driving the devil out, and pulling the spirit in. From the subdued start to this, the first encore, the crowd had been whipped up into a frenzy, everyone in sight dancing, singing, reaching their hands up in the air, and clapping along, moved by the experience. It was something that I’ve never seen before, but hope to again.
The performance was visually impressive as well, the array of instruments both on and off stage, ranged from unique worldly pieces, to an extensive and varied collection of guitars. Band members would frequently change instruments, sometimes during a song, or even play two at once. All of this coupled with a near-constant stream of stage hands running on and off, providing the band with even more guitars, was all almost Vaudevillian, an incredible weaving of skill and craftsmanship.
After almost two and a half hours, and two encores, the evening turned sentimental, with a stirring rendition of “The Sounds of Silence”, then “Here Comes The Sun”, with Paul’s sage reminder to think of George from time to time. These were mixed with other upbeat hits like “Late in The Evening”, and a version of “Bye, Bye Love” (The Everly Brothers), which brought on a surprise accompaniment by Don Everly. Another guest, Jerry Douglas, joined Simon on stage for a moving performance of “The Boxer”, and by now, everyone seemed contented in the knowledge that they had been privy to something rare and beautiful. A permi-grin as wide as the theater seemed to stretch across everyone’s faces. A young man standing near me, around the age of 19, danced in an isle and enthusiastically sang along with all of the songs, and with the end of “The Boxer”, I saw another man wipe away a tear. I may have reacted similarly, were I not already feeling the effects of total sensory-overload.
For the third and final encore, Simon played “The Boy in The Bubble”, and until proven otherwise, I will maintain that this song was written for me. It seemed the perfect way to close, leaving on a positive, and hopeful note. Overall, the show transcended the label of concert and entered into magical experience territory, and made for a once-in-a-lifetime event. When it was finally over, and dazzled fans made their way to the exits, it was clear that everyone left that night, having got to hear their favorite song.
♥ ♥ ♥
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