Paul Simon Reflects on the Evolution of American Lyricism and Prepares for Extensive North American Leg of A Quiet Celebration Tour

Paul Simon, the seminal figure of the American folk-rock movement and a two-time inductee into the Rock & Roll Hall of Fame, recently offered a rare and profound glimpse into his creative psyche during an appearance on CBS’s The Late Show with Stephen Colbert. The appearance served as a thematic bridge between the European leg of his "A Quiet Celebration" tour, which concludes this May in Dublin, Ireland, and the newly announced North American dates scheduled for the summer of 2026. During the extensive interview, Simon engaged in a high-level discourse on the craft of songwriting, identifying the figures he believes defined the lyrical landscape of the 20th century while performing a poignant rendition of one of his classic solo tracks.

The dialogue began with host Stephen Colbert presenting his own "Mount Rushmore" of American lyricists—a list intended to represent the pinnacle of domestic songwriting. Colbert’s selection included Stephen Sondheim, Bob Dylan, Jackson Browne, John Prine, and Simon himself. While Simon accepted the accolade with characteristic humility, the conversation quickly pivoted toward Simon’s own influences and the artists he believes possess an "extraordinary turn of phrase." The ensuing discussion highlighted not only Simon’s personal tastes but also his deep respect for the historical foundations of modern popular music.

The Influence of Chuck Berry and the Harlem Renaissance

When prompted to name a lyricist who consistently surprises him with their technical skill, Simon immediately pointed to Chuck Berry. This choice underscores Simon’s appreciation for the roots of rock and roll, viewing Berry not just as a guitar pioneer but as a literary figure. Simon argued that Berry’s work in the 1950s was of such high caliber that it could be compared to the Harlem Renaissance, the intellectual and cultural revival of African American music, dance, art, and literature centered in Harlem, Manhattan, spanning the 1920s and 1930s.

Simon noted that Berry’s ability to craft narratives that flowed effortlessly served as a masterclass for an entire generation of musicians. "He taught my whole generation," Simon remarked, specifically citing Bob Dylan and The Beatles as artists who operated under Berry’s shadow. Simon focused on the specific imagery in Berry’s 1958 hit "Johnny B. Goode," particularly the line, "He used to carry his guitar in a gunny sack." For a young Paul Simon growing up in Queens, New York, the term "gunny sack" was exotic and evocative, sparking a curiosity about the world beyond his immediate surroundings. This focus on specific, grounded imagery remains a hallmark of Simon’s own writing, from the "neon light" of "The Sound of Silence" to the "dusty road" of "Graceland."

The Generational Canon: Dylan, Mitchell, and Wonder

Continuing his assessment of great lyricists, Simon identified Bob Dylan as an "interesting" and essential voice of his own era. The relationship between Simon and Dylan has long been a subject of fascination for music historians, as both emerged from the New York City folk scene to redefine the parameters of what a popular song could express. By acknowledging Dylan, Simon reinforced the idea of a shared lineage of storytelling that prioritizes poetic ambiguity and social commentary.

The conversation took a lighthearted turn when Simon mentioned Joni Mitchell. Colbert, adhering to his self-imposed "American only" criteria for the Mount Rushmore analogy, jokingly reminded Simon that Mitchell is Canadian. Simon, however, refused to let geographic borders limit his appreciation for lyrical excellence. He further expanded his list to include Stevie Wonder, whom he described as a "really good storyteller." Wonder’s inclusion is significant, as it recognizes the narrative depth found in the R&B and soul traditions, particularly during Wonder’s "classic period" in the 1970s when albums like Innervisions and Songs in the Key of Life tackled complex themes of spirituality, urban life, and romance.

A Performance of Something So Right

Following the interview, Simon moved to the Late Show stage to perform "Something So Right," a standout track from his 1973 solo album There Goes Rhymin’ Simon. Accompanied by members of his current touring ensemble, the performance highlighted Simon’s enduring vocal precision and the sophisticated harmonic structures that have defined his post-Simon & Garfunkel career.

"Something So Right" is often cited by critics as one of Simon’s most accomplished compositions, blending elements of traditional pop with a soulful, introspective lyrical core. The song’s inclusion in the television appearance serves as a microcosm of the "A Quiet Celebration" tour’s ethos: a focus on intimacy, musicality, and the quiet power of a well-crafted song. The arrangement performed on Colbert’s show mirrored the stripped-back, nuanced approach Simon has adopted for his recent live outings.

Chronology and Structure of the A Quiet Celebration Tour

The "A Quiet Celebration" tour represents a unique phase in Simon’s six-decade career. Unlike the high-energy, world-music-infused spectacles of the Graceland or The Rhythm of the Saints eras, this tour is designed around the atmosphere of his 2023 release, Seven Psalms.

The concert experience is strictly divided into two distinct movements:

1. The Seven Psalms Suite: The first half of the show consists of a complete, uninterrupted performance of Seven Psalms. The 33-minute piece is a meditation on mortality, faith, and the passage of time. Recorded primarily with acoustic guitar and subtle choral arrangements, the album was inspired by a series of dreams Simon had, leading him to create a continuous, multi-movement work that defies standard radio formats.
2. Career Retrospective: After the contemporary weight of Seven Psalms, the second set transitions into a celebration of Simon’s vast catalog. This segment includes a mixture of solo hits, deep cuts, and selected classics from the Simon & Garfunkel era.

A notable feature of these performances is the participation of Edie Brickell, Simon’s wife and an accomplished singer-songwriter in her own right. Brickell joins Simon for several duets, adding a personal and collaborative dimension to the "Celebration" theme.

2026 North American Tour Itinerary

While Simon is currently occupied with European dates through late May 2024, the newly announced 2026 North American leg indicates a long-term commitment to this specific touring format. The 2026 trek is scheduled to begin in Northern California and move through several high-profile venues across the United States.

• June 4, 2026: Launch at Palo Alto, California.
• Mid-June to Early July: Various dates across the West Coast and Northeast (Specific venue details pending).
• July 17-18, 2026: A two-night stand at the Ravinia Festival in Highland Park, Illinois.

The Ravinia Festival dates are particularly noteworthy. As the oldest outdoor music festival in North America and the summer home of the Chicago Symphony Orchestra, Ravinia provides the exact acoustic and environmental backdrop suited for Simon’s "Quiet Celebration." The venue’s history of hosting legendary folk and classical artists aligns with Simon’s current artistic trajectory.

Analysis of Implications: The Legacy of the Elder Statesman

At 82 years old, Paul Simon’s continued presence on the road and his engagement with contemporary late-night media signal a broader trend among the "Class of the 1960s." Like his peers Bob Dylan and Bruce Springsteen, Simon is navigating the "late style" of his career—a period characterized by a return to essentials and a preoccupation with legacy.

The "A Quiet Celebration" tour is an intentional departure from the "farewell tour" trope. While Simon announced a retirement from traditional touring in 2018 following his "Homeward Bound" tour, his return to the stage suggests that the drive to perform remains, albeit in a more controlled and artistically specific environment. By centering the first half of his show on Seven Psalms, Simon is forcing his audience to engage with his new, more challenging material before rewarding them with the nostalgia of his hits. This move is a bold assertion of his status as a living, evolving artist rather than a museum piece.

Furthermore, his commentary on Chuck Berry and Stevie Wonder serves to solidify the "Great American Songbook" of the rock era. By placing Berry alongside the Harlem Renaissance, Simon is advocating for a more serious academic and cultural valuation of early rock lyrics. His refusal to exclude Joni Mitchell based on her nationality further suggests a vision of "American" music that is defined by its spirit and linguistic tradition rather than strictly by political borders.

As Simon prepares to wrap up his European dates and looks toward his 2026 return to North American stages, his appearance on The Late Show stands as a testament to the enduring power of the written word in music. In an era dominated by digital production and fleeting trends, Simon remains a steadfast defender of the "extraordinary turn of phrase."