Bob Dylan Shadow Kingdom: A Disappointing Accordion Experiment

Bob Dylan’s Shadow Kingdom, initially presented as a livestream event, now arrives as an album, offering listeners a collection of reimagined versions of his classic songs. However, the experience is immediately dominated by an overwhelmingly present and often jarring accordion that permeates nearly every track. This sonic choice proves to be the album’s most significant hurdle, frequently overshadowing the songwriting and performances, leading to a listening experience that feels less like a fresh interpretation and more like an exercise in endurance. At times, the arrangements veer close to self-parody, reminiscent of something one might expect from a novelty act rather than a folk rock legend.

Cover art for Bob Dylan Shadow Kingdom album showing Dylan in silhouette

The Accordion Overload: A Central Flaw

The primary issue plaguing Bob Dylan Shadow Kingdom is the relentless accordion. Its aggressive presence often feels intrusive, insisting on carrying both main riffs and vocal melodies, as heard on “Most Likely You Go Your Way and I’ll Go Mine”. This approach doesn’t enhance the songs; instead, it often renders them grating. The comparison to Weird Al Yankovic isn’t entirely facetious; certain moments feel unintentionally comical or self-parodying. “Tombstone Blues,” for instance, is reduced to slow, sparse guitar chords and Dylan’s solemn intonation, stripping the original’s energy and replacing it with a ponderousness that highlights the pretension that can sometimes surface in Dylan’s work.

Deconstructing the Reimagined Tracks

While artists reimagining their own work can yield fascinating results (like Jimmy Page & Robert Plant’s No Quarter), it can also fall flat (Paul Simon’s In the Blue Light). Shadow Kingdom unfortunately leans towards the latter.

Hits and Misses (Mostly Misses)

The arrangements frequently struggle. The aforementioned “Most Likely You Go Your Way and I’ll Go Mine” suffers not only from the accordion but also an awkward mid-song slowdown made worse by the lack of rhythmic anchor. “I’ll Be Your Baby Tonight” presents a curious case: the guitars establish a decent groove, somewhat reminiscent of a Beach Boys rhythm section, and the accordion is momentarily subdued. However, Dylan’s histrionic, note-searching vocal delivery, particularly on lines like “bring that bottle over here…I’ll be your baby tonight,” is jarringly awkward. The song then loses its momentum with a slow ending, negating the earlier groove.

The Missing Beat: Where Are the Drums?

A baffling choice across Shadow Kingdom is the near-complete absence of drums. Many of these reinterpretations cry out for a percussive foundation. Without it, songs like “To Be Alone With You” lack the drive of the Nashville Skyline original, becoming campfire singalong versions devoid of energy, dominated by strummed guitars and the ever-present accordion. Bringing T-Bone Burnett on guitar seems less impactful when the rhythmic core is missing. This absence creates strange voids, particularly in slowdowns or pauses, making the ensemble sound loose and occasionally out of sync, as evident in parts of “Most Likely You Go Your Way and I’ll Go Mine.”

Vocal Performance and Delivery

Dylan’s vocal approach on the album is inconsistent. On tracks like “What Was it You Wanted,” the musical backdrop offers an appealing intimacy with echoey guitars, potentially rivaling the Oh Mercy original. However, Dylan adopts a rushed, half-spoken delivery that detracts from the musicality. This same off-putting style surfaces on “It’s All Over Now Baby Blue,” where his erratic timing makes it difficult for the band to maintain cohesion. The result sounds sloppy and disorganized.

Conversely, Dylan’s voice itself occasionally sounds less raspy than on recent records, perhaps benefiting from a pandemic-induced touring break. On moments like “When I Paint My Masterpiece,” he delivers a more engaging performance. This suggests the capability is there, but the choices made regarding delivery often undermine the songs. It’s important to evaluate the vocal performance critically, regardless of the artist’s age; the price of the album doesn’t come with an age-related discount.

Glimmers of Potential Amidst the Squeeze Box?

Despite the pervasive flaws, fleeting moments suggest what might have been. “Queen Jane Approximately” possesses an emotional range arguably absent in the Highway 61 Revisited original, where a certain “wiseguy” persona sometimes constricted the feeling. This newer version offers more emotional resonance, though it’s ultimately hampered by the accordion. “Forever Young” stands out as a relative highlight musically, even if it feels somewhat underdressed and could have benefited immensely from percussion. “Sierra’s Theme” is a pleasant, if unremarkable, instrumental trifle.

Other tracks highlight the need for rhythmic support. “The Wicked Messenger” feels too loose without drums, and the interplay between the vocal and echoing guitar sounds slightly off-kilter. “Watching the River Flow” suffers similarly; the lack of a defined rhythm makes it difficult to connect with, despite a relatively strong vocal performance. The guitar solo, in particular, feels untethered due to the erratic timing. Tracks like “Pledging My Time,” never a standout on Blonde on Blonde, become even more lethargic here, contributing to the album’s overall snoozy vibe.

Black and white photo of Bob Dylan performing on stage during the Shadow Kingdom era

Critical Reception vs. Reality

Despite this assessment, Shadow Kingdom has garnered positive reviews. Rolling Stone praised its reinvention, Mojo called it a “noir thriller,” AP noted it “feels like Dylan covering Dylan” and found the accordion/no-drums combination made the songs “sound fresh again.” Others declared it “completely thrilling” (The Guardian), “required listening” (The Art Desk), or an “essential purchase” (Super Deluxe Edition).

This critical enthusiasm is perplexing. The “heavy dose of accordion and no drums” isn’t a refreshing innovation; it’s the album’s fundamental weakness. While personal taste plays a role – some may genuinely enjoy prominent accordion music – its foundational, in-your-face deployment here is likely to alienate many listeners accustomed to rock and folk arrangements where the instrument is used more sparingly. This isn’t just a Dylan album featuring accordion; it’s arguably an accordion album featuring Dylan.

Conclusion

Ultimately, Bob Dylan Shadow Kingdom feels like a missed opportunity. The core concept of revisiting and reimagining classic songs holds promise, and Dylan’s voice shows occasional signs of renewed strength. However, the execution is deeply flawed. The overbearing accordion, the detrimental lack of percussion, inconsistent vocal choices, and a generally lethargic atmosphere render the album largely tedious and musically unsatisfying. It offers little new insight into these well-known songs and the “new” elements often detract rather than enhance. Without significant changes to the arrangements – primarily, removing the accordion’s dominance and adding a rhythm section – Shadow Kingdom feels largely pointless, neither essential nor required listening for anyone but the most dedicated Dylan completists or accordion enthusiasts.