Mark Knopfler’s ‘Down the Road Wherever’ returns him to a chilly night at Red Butte

By Jennifer J. Johnson | [email protected] 

Mark Knopfler’s musical reputation, paired with the fact that his Red Butte concert sold out early, made the actual concert all the worse—a case of a severe letdown, particularly for those who spent upwards of $100 on tickets.

Knopfler—like many musicians performing at Red Butte this summer—has been a profound force in music for decades. Unfortunately, his Red Butte performance came up way short.

A self-taught musician, Knopfler went on to co-found (with his brother) one of the most iconic bands of the 1970s and 1980s.

Dire Straits was that band—and, perhaps, a phrase that now depicts Knopfler’s current situation, with years of heavy playing and touring finally taking their toll.

Knopfler wondered aloud about the situation to the Red Butte audience, hypothetically positing that he should retire.

Pleasantries dictated crowd response in the negative, but Knopfler’s having to retreat from the stage to bundle up to ward off the September night chill in the foothills, some technical (sound) difficulties, and the near-unforgivable not playing “Sultans of Swing” (1978) in his setlist for the night, had to have made fans wonder, driving home after the shortened concert.

Some positive notes

Knopfler is more musician than showman, and, more human than musician.

It was fascinating hearing him share stories of hitchhiking travels and pre-fame anecdotes. This tour staple is a nice fit with his current work—his ninth solo album, appropriately titled “Down the Road Wherever” (2018).

As such a long-time industry force, Knopfler has assembled an amazing array of musicians to play with him: Some 11 Australian, Wales, British, and American musicians showed capability on what Knopfler says were 49 instruments between them.

The stage, most often, looked beautiful—at times, for example—while Knopfler and musicians played “Corned Beef City” (2012)—representing as an intimate café or club. It was truly a remarkable accomplishment to create that ambience. It was the perfect backdrop for Knopfler’s musings.

Knopfler used a total of six guitars at Red Butte.

The first trade-out was right after “Corned Beef City,” the third number on the night’s abbreviated setlist. (Looking at other concerts this summer, Red Butte concert-goers seemed shorted by at least two, and as many as three more songs played at other venues.)

“Sailing to Philadelphia” (2005) showcased the musical skills that encouraged Knopfler to perform as a solo artist—as a life beyond Dire Straits. The song is a lyrical history of the surveyors creating geography’s Mason-Dixon Line. As Knopfler sang “I am Jeremiah”—the richness of his voice is shown to still be remaining. His band mates added to the song’s magic with capable flute and saxophone solos.

“Once Upon a Time in the West” (1979) is a Dire Straits classic, which, again, showcased some sweet solos—this time, trumpet joined saxophone.

Knopfler performed one of Dire Straits’ best-known songs—“Romeo and Juliet” (1980) as a mega ballad, with huge—albeit, occasionally overly piercing—saxophone.

At this point, still early in the concert, only five songs in, Knopfler complained about needing hand warmers and heaters.

Although the vocals seemed sometimes under-mic’d toward the end of the concert, Knopfler and company raged for the final few numbers.

“Lady Killer” (1991) brought back the Dire Straits firework feeling. And—what a way to end—“Money for Nothing” (1985), one of the hits on the album winning the Grammy Award for Record of the Year that year.

If only they had played “Sultans”—and the weather had been better. Book him early in the season, if he repeats, Red Butte.