Dylan opens the set behind his piano, where he will spend most of the evening. However, for the first few moments, he plays guitar with his back to the audience as the reworked melody of the classic “All Along the Watchtower” begins. When it’s time for the vocals, he casually sets down his guitar and turns to the piano. From that moment on, the next hour and fifty minutes become a glorious journey through Dylan’s storied history and the modern version of a legend.
The band that Dylan has assembled gives him the perfect opportunity to continue his now-famous reinterpretations of his music. For those who may not be familiar with Dylan as a live performer, especially over the last 30 years, attending one of his concerts can be a surprising experience. If you expect “It Ain’t Me, Babe” to sound or feel just like the recorded version, you will likely be disappointed. However, you won’t be let down. Dylan reinvents his songs musically on every tour, and sometimes it feels like he does this at every show! This approach keeps the classics fresh and relevant for a modern audience. For instance, his latest rendition of “All Along The Watchtower” blends elements of his original version with the well-known Jimi Hendrix interpretation. That’s a great starting point.
The song “It Ain’t Me, Babe” follows and is barely recognizable, save for the title refrain, and it must be the third or fourth different version of this track that we’ve seen live. Like all the previous versions, it is magnificent in tone, pace, and execution. Although this is technically the same “Rough and Rowdy Ways” tour that Dylan was on a couple of years ago, the setlist features a few changes while primarily consisting of tracks from that album. The first song performed this evening was the brilliant “I Contain Multitudes,” which differs from the recorded version but is equally powerful. This live rendition showcases Dylan stepping away from the piano to sing, creating a refreshing change in vibe.
Out of the 17 tracks performed, 9 are from Rough and Rowdy Ways which gives the set a clear focus, direction, and atmosphere, rather than it just being a random mix of greatest hits. He effortlessly transitions between moods; one moment he is immersed in the raw grit of “False Prophet,” and the next, he delivers a joyful, upbeat rendition of “When I Paint My Masterpiece,” followed by a reflection in the melancholy of “Black Rider.”
As Dylan approaches his mid-eighties, he seems to defy expectations, improving like a classic blues artist. Time and age have strengthened him musically, and he is as vital as ever. The latest rendition of the stonewall classic “Desolation Row” gains fresh meaning, purpose, and energy as Dylan continues to amaze. He is supported by an impressive band that can effortlessly adapt to follow him wherever he wishes to go.
The loudest cheers of the evening erupt for “It’s All Over Now, Baby Blue.” Dylan takes this song to a new place while still preserving its original meaning and subtlety.
This concert was akin to watching Muhammad Ali in his prime—full of swagger, skill, style, and, most importantly, genius. While the term “genius” can be overused for many performers, Dylan’s genius is well-earned. For over 60 years, he has demonstrated, both in the studio and on stage, that he has no equal. He is the king of all kings, the Capo Di Tutti Capi, the GOAT. No matter what you call him, his steadfast refusal to follow trends, compromise his musical vision, or interact with his audience makes him truly unique—and for that, he should be treasured.
He closes the set with the classic “Every Grain of Sand,” taken from the Shot of Love album, which is one of the three often criticized “religious” albums. However, even a devout, almost militant atheist—more accurately described as an anti-theist like myself—still worships something. Dylan is as good a subject of worship as I have seen.
