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Paul Simon delivers a commanding incantation at Disney Hall

BBG News

In 2018, Paul Simon stepped onto the Hollywood Bowl stage, which many spectators thought was his final performance in Los Angeles. Indeed, Simon himself had planned it this way, titling the event “Homeward Bound – Farewell Tour” as he felt it was time to retire after five decades of music-making and a record-breaking three Grammy awards for albums. With a vast repertoire of some of the most profoundly intelligent American songwriting, he prepared to bid farewell with grandeur.

It was quite surprising and joyful when Simon, now 83 years old, revealed a few years later that he still had more to give. In 2023, he unveiled a new album titled “Seven Psalms,” an eloquent, gentle reflection on the course of his life, richly influenced by biblical symbolism and intricate guitar melodies woven together.

Simon was planning not just a comeback, but a grand one indeed, with a tour that would include five nights at Disney Concert Hall for Los Angeles fans. This tour represented a final opportunity for locals to rekindle their connection with Simon, who had recently released a powerful late-career album, providing a fitting finale to his discography. The songs ranged from his early days in the Greenwich Village folk scene of the ’60s and ’70s, all the way to a collaboration with Sabrina Carpenter on “Saturday Night Live’s” 50th anniversary special.

On this past Wednesday, we attended the final performance at Disney Hall, marking the end of Simon’s long-standing residency. Remarkably, he was still a sight to behold, giving an exceptional performance as the twilight of his career approached.

Music

On Friday evening, two titans of American music took the stage during the yearly Outlaw Music Festival’s stop at the Hollywood Bowl.

Seven years ago, if Simon harbored any questions about his passion or capability to deliver at such a demanding level, they likely vanished the moment he held a guitar at Disney Hall. The performance began with a continuous rendition of “Seven Psalms,” a concise yet deeply moving song cycle, where an intricate, decorative acoustic guitar melody was recurringly used across several songs as a heartfelt farewell.

As a movie-goer reviewing “Seven Psalms,” I’d say it stands shoulder to shoulder with the legendary albums like David Bowie’s “Blackstar” and Johnny Cash’s “American Recordings.” This album offers a profound, wide-angle lens into the enigma of late life, a testament to Simon’s timeless wisdom that seemed ahead of its time even in his youth. Yet, at over 80 years old with a creatively rejuvenated spirit, his music strikes an especially poignant chord.

In “Love Is Like a Braid,” he crooned, “I lived a life filled with sweet sadness until true love arrived.” During those moments of supplication and anticipation, when uncertainty and logic prevail, a court was in session, weighing the evidence. It’s all doom or it’s all salvation.

During this phase of performances, Simon’s band consisted of around a dozen robust musicians, covering percussion, woodwinds, and guitars. For the most part, they functioned as impressionists, contributing echoing bells and delicate orchestral embellishments to enrich the nostalgic feel of these tunes.

As he added a touch of playfulness to “My Professional Opinion”, there was a hint of raw potency in “Trail of Volcanoes” and most notably, “Your Forgiveness”. In this song, Simon reflected on his time on Earth and the mysteries beyond. He sang, “Two billion heart beats and gone / Waving the flag in the last march / I have my reasons to question”, followed by a humble invocation: “Reach into divine waters, tap into God’s creativity … All of life’s riches encapsulated in a droplet of vapor.

Toward the end of the performance, things got a bit more lively and boisterous, with one spectator even creating a small piece of memorabilia by throwing a $20 bill onto the stage. This unexpected gesture prompted Simon to humorously comply with the fan’s request to perform a verse of “Kodachrome.

Simon and his group exercised more freedom in their work here. The albums “Graceland” and “Under African Skies” showcased a continued fascination with the rich musical offerings worldwide. Despite the intricate layers present in that album, it served as a stepping stone for the growing popularity of African music on a global scale today. (Simon highlighted his bassist, Bakithi Kumalo, as the last surviving member of the original “Graceland” band.)

The smooth transition from ‘Slip Slidin’ Away’ to ‘The Late Great Johnny Ace’ tells a story of rock ‘n’ roll decay that resonates with a broader feeling of cultural decline. Simon may not have directly mentioned contemporary events, but the song carries a heavy, modern weight, hinting at the impact of the assassinations of John F. Kennedy, Robert F. Kennedy, and John Lennon.

Music

Several months following Jimmy Buffett’s passing, notable figures such as Paul McCartney, the Eagles, Jon Bon Jovi, and Jackson Browne assembled at the Hollywood Bowl to honor him with a tribute concert.

Steve Gadd, a seasoned drummer, once again infused “50 Ways to Leave Your Lover” with jazzy beats, and the tender, lesser-known track “St. Judy’s Comet” served as a delightful, subtle touch. Edie Brickell, Simon’s spouse and vocalist, joined in from the side stage, whistling the catchy hook for “Me and Julio Down by the Schoolyard.” However, the band truly took off on two tracks from “The Rhythm of the Saints.” “Spirit Voices” evoked a dreamlike state induced by ayahuasca with its dense layers of guitars and hand percussion. Meanwhile, “The Cool, Cool River,” with its complex time signatures and expansive structure, demonstrated that Simon, despite being a poet, remains an exceptional musician in control.

Although Simon didn’t perform “Bridge Over Troubled Water” or “You Can Call Me Al,” his final encore consisted only of him and a guitar playing “The Sound of Silence.” His guitar playing still held the same original strength, and the instrumental runs were captivating. It seemed that Simon was genuinely grateful to find that the stage hadn’t lost its allure or power for him, despite his expectations.

Is there a possibility that the concert on Wednesday was Simon’s final live performance for Angelenos (the tour concludes next month in Seattle)? If so, it was a fitting farewell for one of America’s iconic songwriters. But if not, make sure to catch him when you can again.

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2025-07-17 22:01

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