Paul Simon is one of the few songwriters in American music whose catalog functions as a kind of autobiography of the form itself. From the folk simplicity of his early work with Art Garfunkel — “The Sound of Silence,” “Mrs. Robinson,” “Bridge Over Troubled Water” — through the rhythmic complexity and global texture of Graceland and The Rhythm of the Saints, Simon has spent six decades in pursuit of something always slightly beyond what he has already done. That restlessness is why his concerts, even now, feel less like retrospectives and more like live arguments for why the songs still matter.
He announced his retirement from touring in 2019, and by most accounts he meant it. Which is what makes a two-night stand at Tanglewood in late June not just an event but a gift. These are not the dates of a band honoring a contract. They are the appearances of an artist who still has something to say and has chosen this place, this stage, to say it.
Tanglewood and the Weight of the Setting
Tanglewood occupies a category of its own among American outdoor venues. The Berkshire Hills setting, the long history of the Boston Symphony Orchestra on this ground, the particular quality of a summer evening under the shed or on the lawn — it all conspires to make music feel like it matters more than usual. For a songwriter of Simon’s stature, it is the right stage. The acoustics reward precision, and Simon’s music has always been precise, even when it feels loose.
“You Can Call Me Al,” “50 Ways to Leave Your Lover,” “America” — whatever the set holds, the catalog is deep enough that this show will feel complete from any angle.
Night 1 begins at 7:30 PM on June 27. Night 2 follows on June 28. Both nights should be considered separately — and both should be considered seriously.