{"id":4452,"date":"2026-07-28T20:14:12","date_gmt":"2026-07-28T20:14:12","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=4452"},"modified":"2026-07-28T20:14:12","modified_gmt":"2026-07-28T20:14:12","slug":"hunting-a-myth-in-the-wisconsin-woods","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=4452","title":{"rendered":"Hunting a Myth in the Wisconsin Woods"},"content":{"rendered":"
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\n\tSeven hours before Justin Vernon will possess the body of Bob Dylan, northern Wisconsin is thinking about God.\u00a0<\/p>\n

Read more Kandi Burruss\u2019 Absence, Plotting That Wedding and Other Burning \u2018The Chi\u2019 Finale Questions, Answered by Lena Waithe<\/a><\/p>\n

\n\tMore accurately,\u00a0time<\/em>, the\u00a0universe\u00a0<\/em>and God. The literary author Sheila Heti is holding a writing workshop inside a schoolhouse-museum in a sprawling wooded park in the town of Eau Claire, and she advises the packed room to include those elements. Also, to invite the universe along as co-author. \u201cShould I make my protagonist first-person or third-person? Should my book be long or short?\u00a0Flip a coin,\u201d she encourages. \u201cChance is a tool.\u201d<\/p>\n

\n\tHeti has been brought here by Justin Vernon, the 45-year-old creative force behind the iconoclastic indie-music act Bon Iver,\u00a0long-running avatars of beautiful melancholia.\u00a0Everyone here has been brought by Vernon, really, by mystical conjuring if not literal invitation, the rock star as co-author. The celebrated musicians, the eclectic writers, the artist troupes, the lumberjacks, the magicians. And, of course, the fans. They pour in by the gaggle, hipsters and working-class alike \u2014 the twentysomething art kids from Northeast Minneapolis and the rough-ribbed farm workers from Chippewa Falls \u2014 united by their love of Vernon, and, apparently, by skin-blanketing tattoos.\u00a0A menagerie out of\u00a0a Dylan epic. Fitting, as Dylan will shortly be brought here too, or maybe summoned captures it better. More on that in a minute.<\/p>\n

\n\tBut first, wait, what is this place? Eaux Claires, the plural of Eau Claire, the mecca of the Bon-iverse, and a reborn music festival (it had run four years in the 2010\u2019s before getting put on ice for eight). Yet to hear the hardcore tell it,\u00a0this<\/em>\u00a0bears little resemblance to\u00a0that<\/em>. This bears little resemblance to anything, including itself. Modern music festivals don\u2019t have Mark Fiore, \u201cone of the top jugglers in the Upper Midwest\u201d putting on a show at the same time as performances from the Gen Z indie-pop phenom Samia or Gen X pioneer Aimee Mann;\u00a0they don\u2019t take place on the same field where Hank Aaron played his first non-Negro League games; they don\u2019t have a \u201cMom\u2019s\u201d stand with beatific presences doling out sunscreen and Cheerios; they don\u2019t have a \u201cwriters-in-residence\u201d program.<\/p>\n

\n\tAnd they definitely, certainly don\u2019t boast an explicit mission of human unity in the age of digital atomization. \u201cThis is exactly why we did it \u2014 to create opportunities to meet new people,\u201d\u00a0says The National\u2019s\u00a0Aaron Dessner, Vernon\u2019s Eaux Claires co-curator and sometime-musical collaborator, from the stage of his own set.<\/p>\n

\n\tTo achieve that unity, Bob Dylan had to be involved. Somehow. For some reason.<\/p>\n

\n\tThe decision to restart Eaux Claires has, like so many things Vernon, already entered the realm of canon, just five months after he made it.\u00a0Back in February everyone was minding their own business when the musician had an announcement. Eaux Claires, dormant for so long, would return for a two-day engagement. As he explained in an Instagram voice-over in his northwoods sing-song, \u201cOh, it was about a year ago. Bob Dylan came through town. I went with my dad and about 16 of my friends. I\u2019ve lived here for 44 years. And it\u2019s been too long to remember since the town felt that together. So we thought \u2014 \u2018we\u2019d better get the festival back going.’\u201d<\/p>\n

\n\tThat alone would have been cause for interest. Vernon these days almost never speaks publicly and certainly doesn\u2019t announce chummy weekend gatherings for the general public. But then he took matters a step further.\u00a0\u201cI haven\u2019t felt much like being what I\u2019ve been. Or been seen to have been. Or what I wanted to have been. Or what I\u2019ve become,\u201d he continued enigmatically. \u201cSo I thought it\u2019d be cool to try to be Bob Dylan for a night.\u201d<\/p>\n

\n\tVernon\u2019s discomfort with his own incarnations are legion. Only one modern pop-music figure has the same seeming level of disdain for his previous talent, the same zeal in confronting us for liking him, the same insatiability for identities to come: That figure, of course, is Bob Dylan.<\/p>\n

\n\tAnd so here we were, the shapeshifter shapeshifting into the shapeshifter. If you thought about it too long your head might explode. Or the universe would. But Vernon stated his intention simply: \u201cI\u2019m trying to turn Bon into Bob.\u201d\u00a0 \u00a0<\/p>\n

\n\tThe Boniverse freaked out.\u00a0Somehow Bon Dylan, as it soon became known on the festival\u2019s lineup page and breathless subreddits, would balm what ailed us \u2014 the malignancies of political division, the shrieks of capitalism, the piling layers of technological simulation distancing us from ourselves. <\/p>\n

\n\tThat sure seemed like a lot to put on the shoulders of one musical performance. But then, as fans reminded (I confessedly\/proudly am one of them), Vernon had already broken so many rules of modern musical creation and marketing (more on that in a minute too). It helped, at least buzz-wise, that he had not done a proper show since 2023 despite Bon Iver releasing its highly acclaimed fifth studio album (a 13-track juggernaut produced by Jim-E Stack called\u00a0Sable, Fable<\/em> on his longtime label Jagjaguwar) last year. And it\u00a0really<\/em>\u00a0helped that he would not do this again \u2014 not Bon Dylan, maybe not anything. As is also well-known (according to another legend), Vernon has sold all his touring equipment to ensure he never, ever returns to the road.\u00a0<\/p>\n

\n\tAdam Voith, Vernon\u2019s former booking agent and part of an unofficial group of inner-circle advisors, says that, despite its vaudevillian vibes, this one-night-only thing wasn\u2019t a marketing gimmick.\u00a0\u201cI could fill auditoriums all over the country of Justin doing Dylan \u2014 a whole tour,\u201d he tells me. \u201cBut that would defeat the purpose. The idea behind this show is that you can only get it right here right now, and then it\u2019s gone.\u201d In an age of content TikTokified and YouTubized, where no one plays a beat without it ricocheting around the world and then hovering above us like an unclearable dust cloud, Justin Vernon was going the other way. A brief, beautiful flare and pfft.<\/p>\n

\n\tSo throughout the grounds of Eau Claire\u2019s Carson Park, amid the thousands that had gathered on this cool-ish summer Friday, as they waited on line for cheese curds or lounged in front of a music stage, parked themselves on folding chairs at a literary reading or clumped around a merch stand, the din made only one sound: What the hell\u00a0was this Dylan thing going to look like?<\/p>\n

\n\t**<\/p>\n

\n\tFour hours before Bon\u00a0Dylan, and\u00a0Michael\u00a0Perry is working on his monologues.<\/p>\n

\n\tA nurse-turned-trucking-industry-freelance-writer (this is the kind of job that exists in the Vernon-verse), Perry has written a whole bunch of poetic intros to the Dylan songs that he will intone unseen from backstage at Vernon\u2019s mid-show command, and he is polishing them now. He doesn\u2019t know which ones Vernon will want until it comes time to play the songs. But he is writing them all just in case.<\/p>\n

\n\tVernon himself is nowhere to be found. If he was sound-checking it was out of sight; if he wanted to see what he had wrought he was learning it from others.\u00a0<\/p>\n

\n\tYet his presence is ubiquitous. Across the festival, fans chat amiably but intensely expressing song wish lists, recounting long-ago Bon Iver concert experiences,\u00a0wondering if Bon Iver even still exists as Vernon has been vague, guessing what other performer\u2019s set Vernon might crash, maybe Dijon? (This is fueled by Vernon showing up in the soul-rock musician\u2019s\u00a0SNL<\/em>\u00a0set in December with a ballcap and green electric guitar, sitting in the circle of a dozen musicians like any session normie.)\u00a0<\/p>\n

\n\tAnd, of course, playing the where-are-you-from game.\u00a0As local as this festival feels, people have come from far away. Like, really far. Neil, a Londoner who built risk models for a bank, decided to travel to Eaux Claires by himself. \u201cAll my friends want to be on the beach in the summer so I couldn\u2019t get them to come with me. But hearing Justin is better than any beach,\u201d he tells me.\u00a0A compatriot from Liverpool has Neil beat \u2014 he had taken three flights to get to Minneapolis, then rented a car to drive the last 90 minutes to Eau Claire.<\/p>\n

\n\tAll of this may seem like an awful lot of effort to catch one musical act.\u00a0But Vernon\u2019s voice and aura have that kind of effect;\u00a0 his music\u00a0blurs the line between song and spiritual state.\u00a0<\/p>\n

\n\tLet me take a minute to try to explain if you\u2019re not already in the tent (if you are, feel free to skip\/eyeroll).\u00a0I mean\u00a0I\u2019m biased, but only in the sense that I already love Bon Iver\/Justin Vernon; it\u2019s not like anyone\u00a0suckered<\/em>\u00a0me into that love. Anyway, simply put, the appeal is arrangements\u00a0at once\u00a0so musically complex yet so emotionally universal you almost can\u2019t believe the two can co-exist. Nearly\u00a0all sung with Vernon\u2019s trademark falsetto or vocal distortion. (The name Bon Iver is inspired by a Northern Exposure<\/em> greeting\/the French for winter, though with a dropped \u201ch\u201d so as not to look like liver.)<\/p>\n

\n\tYou may have first encountered Vernon via his many collaborations, with Taylor Swift and Bruce Hornsby, Charli XCX\u00a0and Bonnie Raitt, Noah Kahan and Kanye. You\u2019ve probably come across a few BI songs in movies or passing broadcasts without even realizing it \u2014 \u201cHolocene,\u201d \u201cSkinny Love,\u201d \u201cHey, Ma.\u201d Fine and sturdy tracks.\u00a0But there are dozens more, all universes unto themselves. <\/p>\n

\n\tTo grab your lapel further at this bar and\u00a0demand you watch this YouTube clip right now,<\/em>\u00a0I\u2019ll enumerate four.\u00a0Try listening to BI\u2019s Danielle Haim collaboration from\u00a0Sable, Fable<\/em>\u00a0\u201cIf Only I Could Wait\u201d and not feel the pain of every breakup you\u2019ve ever experienced; or \u201cU (Man Like)\u201d from 2019\u2019s\u00a0i,i\u00a0\u00a0<\/em>or its BLM-era spiritual follow-up \u201cAUATC\u201d and not understand injustice in a profoundly emotional way; or, more polarizingly\u00a0but probably most effectively than all of them, \u201cBeth\/Rest,\u201d the\u00a0keyboard-heavy 2011 sophomore-album capper that sounds, as much as any pop song ever has and I can only imagine ever will, what entering the afterlife must feel like.<\/p>\n

\n\tIn a famous\u00a0McSweeney\u2019s<\/em>\u00a0humor piece a few years ago titled \u201cWhat Your Favorite Sad Dad Band Says About You,\u201d the entry next to Bon Iver simply read: \u201cPerhaps the most accurate term to apply to your situation is \u2018seriously injured and lost in the woods.’\u201d\u00a0Many of Vernon\u2019s songs, rooted in personal sadness, indeed appeal to listeners with those tendencies. But they also have a weird way of lifting you from them, partly by making your sadness feel accompanied but also because he has, like some kind of scurvy-defying 16th-century explorer, dodged all the arrows to locate the tiny oasis of light and beauty hiding behind the underbrush. Listening to a Bon Iver song is like being told by a friend that they, too, are depressed \u2014 before they turn around and give you three reasons for hope.<\/p>\n

\n\tSpend any time in the comments sections of Bon Iver\u2019s YouTube songs \u2014 and there are thousands of such comments amid tens of millions of views \u2014 and you\u2019ll soon come across sentiments like:\u00a0\u201cSome time ago I was diagnosed with depression, my thoughts are spinning in my head like bees and they become a constant problem, but when I listen to Bon Iver it is as if the thoughts expand and vanish from my head. In this way it is easier to fight against my depression. My mind expands with music. Thank You Master.\u201d<\/p>\n

\n\tAnd then dozens of people will write in with their own experiences. The feedback turns into unabashed sharing, comment-section as confessional. \u201cThere are songs by Bon Iver that bring me back to what life used to be, when i loved life and i felt like life loved me back,\u201d \u00a0said one on his doleful\u00a0Sable, Fable<\/em>\u00a0single \u201cSpeyside. \u201cI\u2019ve never really put that down into the universe anywhere. I\u2019ve been listening to Bon Iver since 2012, 20 years old and full of passion, joy, and happiness. It\u2019s comforted me through PTSD from military deployments, losing my mom to cancer almost immediately after returning from those deployments, and plenty of other things. I hope i get better. I don\u2019t think i ever will, but i find so much comfort listening to music that transports me back to who i used to be.\u201d<\/p>\n

\n\tAny musician worth their dime would trade all their fame for a testimonial like this.\u00a0Yet I can\u2019t help feeling like something else is animating the fandom besides the group catharsis. I just can\u2019t pinpoint what it is.<\/p>\n

\n\t**<\/p>\n

\n\tTwo hours before Bon\u00a0Dylan and \u2014 twist! \u2014 Vernon takes the stage as himself. The performer scheduled for that slot, the underappreciated veteran singer-songwriter Kevin Morby, just had a baby and couldn\u2019t make the show.\u00a0<\/p>\n

\n\tOK, so not as *himself * but as \u201cBon,\u201d in the word of a handwritten notation on the online schedule. Was this Bon Iver but without the winter, because it\u2019s now summer? Was it half of Bon Iver because the band wasn\u2019t there? Was he just wishing us a good time? Was it Bon Jovi? The grounds were abuzz.<\/p>\n

\n\tThe second choice proved correct \u2014 a Vernon solo act, playing Bon Iver songs. He\u00a0comes out in a headband, black tanktop and black blousy pants, just him and his acoustic guitar.\u00a0A\u00a0half-dozen cuts, none of them Dylan. The standouts are three pure OG throwbacks, including the opener and closer from his breakout 2007 debut\u00a0For Emma, Forever Ago<\/em>, which he probably last played live, well, that far in the past. Only like all the other songs, he now sings in a gravelly (Dylan-y?) register and not the falsetto he made famous on the record. This is full-on Daniel Day-Lewis stuff.<\/p>\n

\n\tThere is something shocking about the whole scene.\u00a0For a man who for so much of the past two decades has hidden behind alternate voices, behind production tricks like reverb and vocoders, and who sometimes just hides period these days \u2014 to see someone like that strumming unadorned is jarring, a vulnerable man now matching the vulnerability in the music. So out of character is it for Vernon\u00a0that some fans wonder if it is even really him. (It is. I think.)<\/p>\n

\n\tAn intense reverence settles on the crowd as he plays. Thousands of people are silent, which only happens at Coachella when \u2014 come on it never happens at Coachella. At one point there is a medical emergency, and dozens of people in the crowd put their hands in the air to wave EMT staff over in the sad way of music festivals but entirely silently and while still staying fixed on the show,\u00a0creating a kind of unintentional group-mime performance.<\/p>\n

\n\tThis was all going down the same weekend as Comic-Con, and while the constituency overlap certainly felt scant, the events maybe also move in parallel, since caring about one specific thing a shit-ton is what makes us feel like ourselves\u00a0in 2026 and getting together with other people who care a shit-ton about that specific thing makes us feel less alone in 2026, and while that specific thing feels like the reason we are doing\u00a0all the\u00a0shit-tonning, maybe the actual reason doesn\u2019t really matter,\u00a0and it\u2019s all just a means to an end, that end being a reason to step out of bed in the morning that doesn\u2019t involving getting mad at someone for having the wrong opinion.<\/p>\n

\n\tAnd then Vernon closes the set with \u201cHayward, WI,\u201d an unreleased coming-of-age song from 2006 that I didn\u2019t know \u2014 think a more ethereal, Midwestern spin on Springsteen\u2019s \u201cGrowing Up.\u201d\u00a0I consider myself a reasonably attuned Bon Iver fan, but one of the hallmarks of such fandom is that there\u2019s always someone nearby who will make you feel, through\u00a0 the sheer force of their obsessive knowledge, that you just arrived to the scene. Today\u00a0that someone is David Kolen, a thirtysomething\u00a0labor negotiator from Chicago at Eaux Claires with two friends. You know Kolen is a fan even before he speaks, because he has tattoos all over his arms and legs of various Bon Iver lyrics. \u201cDo you know what you just\u00a0saw?\u201d he says to me after \u201cHayward\u201d ends and Vernon leaves the stage. \u201cSomething special that has only happened once before and will probably never happen again.\u201d (The once-before was a\u00a0For Emma<\/em>\u00a0ten-year anniversary show in 2017, and it quickly becomes clear from the reaction of everyone around me that I have witnessed history, if of a very niche kind).\u00a0<\/p>\n

\n\tEven the superstars are dumbstruck. As he takes the stage for his set with Dessner a few minutes later, the British mega-producer Fred Again seems\u00a0unable to shake the feeling.\u00a0\u201cI just stood there like all you guys 20 minutes ago crying my eyes out,\u201d he says. \u201cWhen I first came on stage literally my tears were still wet from watching Justin.\u201d<\/p>\n

\n\tThe idea that only a few people in the world have ever heard this song live makes me feel special, which is an odd thing to feel about a song you didn\u2019t know existed 10 minutes before.\u00a0But maybe that\u2019s part of the magic of this Vernonian one-offism, the idea that something doesn\u2019t need to come pre-baked with meaning. It can not exist before just as it won\u2019t exist again. The whole point is ephemerality.<\/p>\n

\n\tThis thought immediately goes to war with my frustration that my phone ran out of battery before I could capture much of the set.<\/p>\n

\n\tThroughout the set Vernon did not speak on stage \u2014 he never does \u2014 just gave a slight bow and warm raise of the guitar before walking\u00a0off.<\/p>\n

Read more Harlan Coben, Showrunner Robert Hull Break Down \u2018I Will Find You\u2019s\u2019 Appeal as Series Hits Netflix\u2019s All-Time Top 10 (Exclusive)<\/a><\/p>\n

\n\tActually, that\u2019s not entirely true re the speaking: he offers a lighthearted \u201cbear with\u201d when the sound glitches at one point.<\/p>\n

\n\t\u201cI was surprised he even said that much,\u201d Voith, his confidante, later tells me drolly.<\/p>\n

\n\tIt turns out Vernon hadn\u2019t planned on doing any of it, including the singing. When Morby dropped out, Vernon told a few of the inner-circlers he might want to take the opportunity to play one song, \u201cHayward.\u201d The\u00a0group was shocked. The song felt too early in his career, too close to the childhood bone, for him to ever trot it out again. But Vernon went \u201cinto the barn\u201d \u2014 his rehearsal space \u2014 at his recording compound in Eau Claire known as April Base. He played the song \u2014 just for his own edification, just trying out how it feels. Within a day Vernon was texting the inner circle again. He wanted to do not only \u201cHayward\u201d but a whole solo mini-set around it. It wouldn\u2019t be Bon Iver, because the band wouldn\u2019t be there, and also because Vernon maybe was, as he\u2019d been hinting, trying to get out of the sad Iverish\/wintry place he\u2019d been in for too long. But there would be songs from the Bon Iver era. As a reward-for-people-coming deal, as a you-have-to-be-there deal.<\/p>\n

\n\tAt a festival whose whole unique ethos is try-not-to-be-anywhere-else, let\u2019s-fight-the-perpetual-distraction-age, let\u2019s-throw-back-to-what-concerts-were-like-when-we-or-at-least-anyone-over-30-was-young.\u00a0<\/p>\n

\n\tAs a just-enjoy-the-firefly-without-trying-to-capture-it-for-Instagram deal.\u00a0<\/p>\n

\n\tSitting right outside the festival venue are \u201cphone lockers.\u201d No one was making you check your phone; it was just offered as an option, should you want to further unplug and purely enjoy the moment and the people purely putting it on for you. A line stretched 15 deep.<\/p>\n

\n\t**<\/p>\n

\n\tNinety minutes until Bon becomes Bob, and everyone stirs in anticipation for a second Justin Vernon performance after years of none.<\/p>\n

\n\tMurmurs go up around the grounds. \u201cI wonder if Bob Dylan himself will be a surprise guest,\u201d (He won\u2019t. He\u2019s playing in Virginia tonight.)<\/p>\n

\n\t\u201cYeah, it would be cool for Justin to do Dylan covers while Dylan is on stage.\u201d (Again, the Virginia thing.)<\/p>\n

\n\t\u201cIt would be cool if Dylan did Justin covers.\u201d (Now that I\u2019d like to see.)<\/p>\n

\n\t\u00a0\u201cIt would just be cool to see these two mysterious people together.\u201d<\/p>\n

\n\tJustin Vernon didn\u2019t set out to become a cult hero, which appears to be exactly what helped him become one. Anonymity in the age of overexposure is powerful sorcery.\u00a0Even mega-stars have come under its spell. While making his smash record\u00a0The Great Divide,\u201d\u00a0<\/em>Noah Kahan hired Vernon for some contributions. One day the backing instruments and vocals literally just appeared with no notice in Kahan\u2019s inbox.\u00a0\u201cHe\u2019s such a mythical figure in my head that it\u2019s cool to have him just float into my songs,\u201d Kahan said recently. \u201cIt\u2019s like a mysterious wood person will lay down guitar and I won\u2019t see it, but it\u2019ll come through email and I\u2019ll be like, \u2018Oh, my God, this is him.’\u201d<\/p>\n

\n\tVernon lore is littered with such moments of aloof mystery \u2014 a lore that he has, to be sure, at least helped along. The most famous example is that for\u00a0For Emma, Forever Ago<\/em>\u00a0in the mid-2000\u2019s, he decamped from North Carolina after a breakup to live solo in his father\u2019s hunting cabin in Northern Wisconsin, where he did nothing but write the record and eat what he hunted for the three months of the two-year Wisconsin winter. The Internet has amplified the story, but Vernon at one point did tell it.<\/p>\n

\n\tOther times he has just watched it happen. Two weeks after Vernon appeared as a musical guest on\u00a0SNL<\/em>\u00a0in 2012, Justin Timberlake turned up playing him in a sketch about meeting baby Blue Ivy Carter. The Vernon character memorably tells Beyonce and Jay-Z that \u201cI was just wandering barefoot in the woods of Wisconsin, and fashioned this guitar out of a canoe.\u201d<\/p>\n

\n\tAiding the aura is the not-speaking-publicly thing, including to the press. Unless he has an album out (which happens maybe twice a decade), Vernon speaks mainly through his lyrics, which are exceedingly cryptic and of which there is a massive trove, ransacked for meaning daily on Reddit. When the only way you communicate with the world is with lines like \u201cI\u2019ll go put the pathfinder on waltz,\u201d \u201cwe are\u00a0weightless like a wayless beast\u201d and\u00a0\u201cthe hawser rolls, the vessel\u2019s whole and Christ, it\u2019s thin\u201d people are going to start thinking you\u2019re a mystic whether you want them to or not.<\/p>\n

\n\tThe not-speaking thing also has the effect of creating a strange kind of third-person detachment around Vernon; even when he\u2019s close, his confidants talk about him as though he\u2019s missing. Just before he takes the stage for his solo set, Perry\u2019s voice booms over the P.A. system \u201cJustin wishes to acknowledge right up front that this was supposed to be Kevin Morby\u2019s set,\u201d an odd sentence-construction given that Justin was right there and presumably could have done the acknowledging himself. A mural in town painted for a previous album has a similar effect; people make pilgrimages to it like they do the Elliott Smith mural in Silver Lake, even though Vernon is very much still with us and lives just several miles down the road.<\/p>\n

\n\tBalancing all this\u00a0are many secondhand indications that Vernon is just, like, a regular dude.<\/p>\n

\n\tA man named Bob whom I meet (not Dylan) \u2014 a Massachusetts native who moved to town when his wife Jill got a job teaching at University of Wisconsin-Eau Claire\u00a0\u2014 tells me knows Vernon from the Menomonie Market Food Co-Op in town where Bob used to do shifts. \u201cJustin would\u00a0come in and shop. He and his entourage were the nicest people in the world,\u201d Bob tells me. Bob has a dad-jokey air about him, a coping mechanism, he says, from having survived a brain-cancer diagnosis more than a decade ago that gave him only three years to live. The artistic spirit of this town, he says, has helped get him through. He and Jill had come to the festival to hear Heti\u2019s writing workshop and to tap into something deeper in themselves. And, of course, to support Vernon.<\/p>\n

\n\tTo promote\u00a0Sable, Fable<\/em>\u00a0last year the singer went on Jimmy Fallon and played a voice mail from an older neighbor named Brian who called, many years into his fame, to let Vernon know\u00a0that his song \u201cSkinny Love\u201d was on\u00a0The Voice<\/em>, as if now he\u2019d been made legit.\u00a0\u201cBrian\u2019s the best neighbor in the world,\u201d Vernon told Fallon, genuinely smiling as the two basked in the story. Just before the Bon set I see an older man at the festival wearing a\u00a0pink T-shirt with the words \u201cBrian\u2019s the best neighbor in the world.\u201d I have to ask. \u201cAre you, um, Brian?\u201d He was! He had the T-shirt custom-made. He\u00a0and his wife proceed to tell me what a great neighbor Justin is.<\/p>\n

\n\tAll of this humanizes Vernon \u2014 or, more precisely, makes his mystique seem tantalizingly within reach, even though it rarely is. The most basic facts of his life elude.\u00a0He is believed to be single \u2014 or, at least, all the relationships we know are hazy literary fragments of ex-girlfriends sung about retrospectively. He did do some media and promotional stops for\u00a0Sable, Fable\u00a0<\/em>last year in which he pulled back the curtain, including the Fallon appearance, but often worked his way to basketball, which he plays\/loves. There have been few pictures of him over the last year since those press stops, which is why when he emerged at the festival with a much scruffier beard it jolted (and fueled the body-double conspiracy theories).<\/p>\n

\n\tAnyway, you can see how the cult reputation happens. Artistic hermitude crossed with\u00a0the guy in aisle five asking you to squeeze this avocado makes for a potent combination.\u00a0<\/p>\n

\n\tAccording to the inner circle, the mythology is something that amuses Vernon more than anything else.\u00a0\u201cHe kind of invites us to poke fun at it,\u201d Perry tells me.\u00a0At a reading Friday afternoon the consigliere, speaking about how the festival gets curated, quips to the audience,\u00a0\u201cJustin turns us loose and the only instruction he gives us is \u2018keep it restaurant.’\u201d (This is a very inside joke over a misheard lyric on a 2019 track that would take more time to explain than it was worth and also make you doubt my assertion that I am not an obsessed fan.)<\/p>\n

\n\t\u201cNow,\u00a0I don\u2019t know what that means,\u201d Perry continues, roasting the artist in absentia. \u201cBut when you\u2019re him you can say things like that and everyone thinks you\u2019re a genius.\u201d<\/p>\n

\n\tPerry is especially eager to take a shot at the hunting-cabin myth. \u201cPeople talk about that time as if he couldn\u2019t get food,\u201d Perry says to me. \u201cI mean there was a [convenience-store] Kwik Trip nine miles away. It wasn\u2019t like he was north of the Arctic Circle.\u201d<\/p>\n

\n\t**<\/p>\n

\n\tJustin Vernon emerges as Bob Dylan. Or Bon\u00a0Dylan. Or Bob Iver. Or whatever you want to call him. He comes out looking like the Bard, in a casual sport coat and that light-colored flat-brim western dress hat\u00a0Dylan has favored in recent years. He offers no introduction, no fanfare, just steps right up to the mic and begins singing, Dylanishly. Word had it this would be 1994-era Bob Dylan, but Vernon immediately launches into \u201cNot Dark Yet,\u201d Dylan\u2019s great comeback ballad from 1997\u2019s\u00a0Time Out of Mind<\/em>. The 1994 thing is just the vocal style from that era; as James Austin Johnson can tell you, you need to pick one.<\/p>\n

\n\tThis song has a special meaning in Vernon\u2019s inner circle. Justin has texted it to friends going through a hard time. It\u2019s kind of the proto sad-song-that-gives-you-hope. If you studied it deeply enough, you could probably use it to unlock the entire Vernon psychic vault.<\/p>\n

\n\tThen he launches into the rest of the 16-song setlist spanning the Dylanian ages \u2014\u00a0an alt-country-flavored \u201cTangled Up in Blue,\u201d\u00a0<\/em>\u00a0a rootsy \u201cAll Along the Watchtower,\u00a0a banger \u201cShot of Love\u201d harmonized by Gospel backup singers, a vocally uncanny \u201cTo Make You Feel My Love\u201d (right down to the nasal twang\/quaver), a duet with the folk-experimentalist Monica Martin for the\u00a0romantic downer \u201cBoots of Spanish Leather\u201d\u00a0(\u201cFriends among and around us, here to sing the saddest sad song, please welcome the songbird, the cat mom, the amazing Monica Martin,\u201d Perry voice-of-Olympuses), a rich keyboard-heavy \u201cDon\u2019t Think Twice, It\u2019s All Right,\u201d a heartfelt harmonica-less rendition of the anti-U.S.-militarism anthem \u201cWith God On Our Side\u201d (though he oddly skips the WW1, WWII and Cold War verses) and a wistful spin through the underrated 1989 regret-ballad \u201cShooting Star.\u201d<\/p>\n

\n\tThe set works on two separate, possibly contrasting levels. Part of you goes through a rational progression knowing that this is not Bob Dylan, but Justin Vernon, who made his name with a very different career, simply\u00a0playing<\/em>\u00a0Bob Dylan, and how impressive that he managed to play him so well. Then there\u2019s the instinctual part that can\u2019t wait to get home and tell everybody what a great Bob Dylan show you just went to.<\/p>\n

\n\tThe impersonation feels less random that it should. Two men, born 40 years apart nearly to the day,\u00a0growing up in the same part of the country, both inspiring rabid fans while trying to keep a low profile.<\/p>\n

\n\tSomeone recorded the show and posted it to YouTube. I\u2019m hesitant to link because if I just spilled this many words for the message that you had to be there, and Vernon just created a whole festival dedicated to the principle of you had to be there, posting a link to a YouTube clip of Bon Dylan would make a liar out of both of us.<\/p>\n

\n\tBut then I decide to include\u00a0it. I mean the whole spirit of the festival is screw it, isn\u2019t it. Also, because I realize that when someone undertakes a daredevil act of creativity even a replica can seem pretty cool; we all loved\u00a0Man on Wire<\/em>\u00a0even as it doesn\u2019t begin to capture what happened that \u201970s day.<\/p>\n

\n\tIt\u00a0hits me, finally, what the deeper appeal of Vernon is, what is is fueling the intense following, how it goes beyond the quality\u00a0or even depth of the music. It\u2019s the\u00a0attitude<\/em>. The best word I can think of after a few days in the northwoods is:\u00a0earnestcore. A word I just made up but in fact may capture what\u2019s happening: a phenomenon in which the importance of the thing stands impervious to any outside expectation or reflexive irony. Life in the 2020s is about putting performance above purity, optics over essence, fronting ahead of vulnerability. All of these forces have their place, or at least their reasons but how nice sometimes to reverse the equation and let the banished concepts have their say.<\/p>\n

\n\tSuch earnestcore-ness becomes clear talking to the natives of Eau Claire \u2014 from the young pro BMX rider who has created an official \u201cEau Claire Time Machine\u201d art installation under the baseball-field bleachers (it features various pieces of town footage and 20 vintage TVs and he will tell you all about the circuitry he used to make them work) to the young man and woman working at the hotel who will spend a sincere 10 minutes giving you restaurant recommendations when you casually ask if anything\u2019s still open. Vernon of course didn\u2019t create earnestcore. He just tapped into it around him and broadcast it to the world \u2014 a world that it turns out has been badly thirsting for it, that has wanted for so long to feel like someone in this messed-up joysticked time was just doing something for its own damn sake.\u00a0<\/p>\n

\n\tVernon closes the set with \u201cKnockin\u2019 on Heaven\u2019s Door,\u201d a fitting song for what has been in the end a night of covers, as this particular Dylan song has of course been made more famous by others than it was by the songwriter himself; and because it first appeared in the Western\u00a0film Pat Garrett and Billy the Kid<\/em>, the kind of damn-the-convention frontier story that mirrors Vernon\u2019s own; and because the crowd, having been almost impossibly reverent for most of the 85 minutes acts like it, too, is on the threshold of divine entryway.<\/p>\n

\n\tThen the song ends and Vernon walks off. He gives some gentle backslaps\u00a0to band members and interacts with the crowd for the first time all set, giving them a few waves and, just before he disappears from sight, doffing his flat-brim, a gesture so Dylan that it\u2019s not clear where the latter\u2019s legend ends and Vernon\u2019s myth begins. The crowd lustily makes known its approval, clapping and cheering and spilling out of the park and through the woods comparing favorite tracks and excitedly talking about the set. Bon has become Bob.<\/p>\n

\n\t**<\/p>\n

\n\tVernon is nowhere to be found the next day on the grounds or on a stage. The hope that he would join Dijon for his performance proves futile. Dijon\u2019s set is preceded by a 2016 collab\u00a0Vernon undertook with the songwriter-producer Francis Starlite (and Kanye) titled \u201cFriends.\u201d Born six weeks after Vernon and a kind of public-facing alter ego for the singer at past Eaux Claires, Francis has materialized as a surprise guest at the Dijon set. He runs and dances and hypes up the crowd, then sings \u201cFriends\u201d by himself.\u00a0\u201cThis place taught me so much,\u201d he says when he\u2019s finished. \u201cHow to be together, right now, alive.\u201d But this place, for all its virtues, doesn\u2019t have Vernon in it. He is safely back in an unseen box, or April Base, or just the woods, hopefully not injured.\u00a0<\/p>\n

\n\tYet his specter is everywhere, and people in Eau Claire know it won\u2019t be long before the actual man will be too.\u00a0I see Bob, the co-op worker, and he has a message.<\/p>\n

Read more Kaitlan Collins Isn\u2019t Surprised Trump Insulted Her at the White House Correspondents\u2019 Dinner<\/a><\/p>\n

\n\t\u201cIf you talk to Justin,\u201d he says to me, \u201ctell him Bob from produce says hello.\u201d<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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