Opinions about Bob Dylan in concert have been strongly divided for almost fifty years. Anyone who saw the best man ever perform live will remember this as one of the worst performances ever or as a concert that they will cherish forever, often without a gray zone in between with a moderate opinion. After his passage in the Lotto Arena, we must once again join the group of people who will cherish this concert by the American Nobel Prize winner forever, because with seventeen idiosyncratic versions of well-known and lesser-known songs, he was especially inspiring and fascinating as the uncompromising genius who he has been his entire career.
While we did not have to count on great classics at Vorst Nationaal two years ago, we did get them at the Lotto Arena, albeit of course in versions that were so far removed from the original that they actually became new songs again. The band sounded searching at one point during “All Along the Watchtower”, on which Dylan, at that moment still hidden behind his piano, also played some guitar, but ultimately delivered a strong version of the song. The tone was set and, as befits the American, he never looked back.
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With “It Ain’t Me, Babe” we immediately got another one of those great classics. The tempo dropped and after the song melody was played entirely on guitar, Dylan was finally added, who enhanced his subdued and laid-back vocals with perhaps his best piano playing of the entire evening. Meanwhile, drumming legend Jim Keltner kept time admirably, thrillingly pausing the song for a second after Dylan’s first verse.
Even though we got a bit more of the older stuff, as was the case two years ago, we were still on The Rough and Rowdy Ways tour, which has already reached its final year in 2024. Not a single song from that album was performed as it appeared on the record in 2020, because anyone who saw the man several times during the tour or listened to various bootlegs online knows that those fairly recent songs are also undergoing continuous evolution. This also includes the beautiful “I Contain Multitudes”, which was performed slightly faster and more robustly than the very serene studio version, while “False Prophet” came closest to the original.
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The prize for most bizarre version went to “When I Paint My Masterpiece”, which was played over the instrumentation of “Istanbul (Not Constantinople)“. It was not even that surprising that Dylan came from behind his piano for many songs to sing with his microphone in his hand and even move. The Bard was in good spirits all evening and funny in his own unusual way. This was evident from the way he played very short harmonica pieces on “Key West (Philosopher Pirate)” and mixed up the lengthy text with a smile on his face, invisible to many. The song was also part of the strongest piece of the concert, which also included the fantastic “Desolation Row” with its driving acoustic guitar. Recognizing each canonized Dylan song by the first notes or vocals was always characterized by some enthusiastic cheering or applause, just as was the case with the bass line of “It’s All Over Now, Baby Blue”. Hats off to Tony Garnier, the bandleader and bassist with whom Dylan has been playing for thirty-five years.
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Fortunately, it wasn’t all over after that, because we got two excellent versions of the slower “I’ve Made Up My Mind to Give Myself to You” and “Mother of Muses”, with the combination of Dylan’s old cracking voice with the touching lyrics that elevated the first song to a highlight. The absolute finale was reserved for “Every Grain of Sand”, on which we heard Dylan play his strongest piece of harmonica and after which he posed for the proverbial photo, because as stated at least three times in every newspaper, the mobile phones had to be placed in a Yondr bag, which could only be opened again when leaving the Lotto Arena.
Bob Dylan once again gave a unique concert in the Lotto Arena, where almost every song was performed in an unusual version. In the meantime, the big fans already know in advance what to expect at a performance by the American and they will undoubtedly have left the hall more than satisfied, while the casual fans may have had a difficult time. At the age of eighty-three, Bob Dylan was in the form of his life in the Lotto Arena, and with the help of songs like “Desolation Row” and “It’s All Over Now, Baby Blue” he was actually just that little bit better than in Forest National. two years ago.
Bob Dylan: A Concert Experience Divided
Opinions about Bob Dylan in concert have been strongly divided for almost fifty years—like deciding which is worse, biting into a grapefruit or being told you’re under house arrest after promising to tidy up your sock drawer! Seriously, anyone who has witnessed Dylan live either recalls a transcendent moment to cherish forever or a performance so dismal it could make a funeral sound like a wedding party. No gray area here, folks—just stark black and white.
After his recent jaunt at the Lotto Arena, it’s clear which camp we land in. Trust me, we’re in the “Cherish It Forever” section of the concert hall. With seventeen idiosyncratic versions of both celebrated classics and obscure gems, Bob Dylan proved, once again, that he’s as uncompromising as a gym instructor who insists you do squats while discussing the philosophy of existentialism.
Now, two years ago at Vorst Nationaal, we were treated to a capital “N” for “Not Quite Classics.” Fast forward to Lotto Arena, and what a treat! Classics were front and centre – but be warned, these weren’t your mummified, old-school renditions. No, these were reimagined to such an extent that they danced closer to the realm of innovation than nostalgia. For instance, during “All Along the Watchtower,” Dylan, lurking behind his piano like a magician at a children’s party, suddenly unleashed some electric guitar riffs. It was a strong performance, or at least as strong as a man fluffing up his hair just before going on stage.
Next up was “It Ain’t Me, Babe,” which dropped the tempo so dramatically you could hear the silence—dare I say, it was more dramatic than an episode of “EastEnders.” Dylan finally joined in, blessing the audience with what can only be described as piano playing so good it could charm the pants off a statue. And let’s give a round of applause to drumming legend Jim Keltner, who not only kept time but also paused at just the right moments—like a comedian waiting for a punchline to sink in. Really, are there many better things in life than watching a Dylan concert where time stops to sip tea and have a natter?
Now I have to say, although the concert leaned heavily on older material, we were still firmly in the arena of The Rough and Rowdy Ways tour—which will inconceivably wrap up in 2024. Not one song from that precious album was played in its original form. According to those “in the know”—yes, the ones with earplugs—they’d informe us that records like “I Contain Multitudes” evolve in a manner that’s almost as surprising as a cat getting a PhD. At least “I Contain Multitudes” came out slightly faster and zestier than you might have remembered, while “False Prophet” cleanly skirted close to familiarity.
The award for the most bizarre rendition undoubtedly goes to “When I Paint My Masterpiece,” performed over the unmistakable melody of “Istanbul (Not Constantinople).” Now that’s innovation! And who doesn’t love an artist willing to wade into the deep waters of sheer chaos? During the night, Dylan even moved from behind his piano, singing into the mic and actually moving his feet… It turns out the man in a rolling piano wasn’t just hiding from the audience; he was setting the scene for a bit of a jig. The Bard was high on spirits and perhaps a double espresso, breaking into short harmonica solos like a child repeatedly asking for ice cream—endlessly delightful.
Now, the strongest moments? “I’ve Made Up My Mind to Give Myself to You” and “Mother of Muses”—oh, my dear readers! Dylan’s whisky-soaked voice mixed with poignant lyrics took the audience to a level of emotional ecstasy that even Netflix’s latest drama couldn’t replicate. And the grand finale? “Every Grain of Sand” showcased Dylan’s harmonica skills in a way that had you questioning if Bach had reincarnated as a folk singer. A curious case indeed!
What a night at the Lotto Arena! With nearly every track beautifully restructured, ardent fans knew what they were letting themselves in for and clearly left with their spirits high. If you’re a casual listener, however, you might’ve found yourself feeling like a deer caught in the headlights—both mesmerized and utterly confused. At a ripe 83, Bob Dylan was not just showing up—oh no—he was in fierce form, showcasing tracks like “Desolation Row” and “It’s All Over Now, Baby Blue,” reminding the audience why he’s been a musical enigma for decades.
So, whether you walked away feeling uplifted or merely contemplating whether to get a refund on your therapy session, one thing’s for sure: witnessing Bob Dylan live remains an experience as unpredictable as a cat on a hot tin roof. And personally, I’d take that uncertainty over a safe bet any day of the week!
Opinions about Bob Dylan’s live performances have remained sharply polarized for nearly five decades. Those fortunate enough to witness this legendary artist in concert often recount either a breathtaking experience to be cherished for a lifetime or a disheartening spectacle that they’ll never forget, leaving little room for any middle-ground sentiments. Following his recent show at the Lotto Arena, we once again find ourselves in the camp of those who will forever treasure this particular concert by the iconic American Nobel Prize winner. With a mesmerizing array of seventeen distinctive renditions of both celebrated and obscure tracks, he captivated his audience as the uncompromising genius he has embodied throughout his illustrious career.
In contrast to the previous concert at Vorst Nationaal two years ago, where great classics were noticeably absent, Dylan’s performance at the Lotto Arena included a selection of these timeless songs. However, true to his avant-garde style, these tracks were reinterpreted to such a degree that they felt entirely new. During a notably searching rendition of “All Along the Watchtower,” Dylan, initially obscured behind his piano, showcased his guitar skills, ultimately delivering a powerful interpretation of the iconic tune. This set a distinctive tone for the show; true to Dylan’s nature, he forged ahead without glancing back.
With “It Ain’t Me, Babe,” we were treated to yet another cherished classic. The tempo shifted as the song’s melody was exclusively delivered via guitar before Dylan finally joined in, enhancing his inherently laid-back vocals with what might have been his most compelling piano performance of the night. Legendary drummer Jim Keltner adeptly maintained the rhythm, adding an element of suspense by pausing momentarily after Dylan’s initial verse.
Even as we witnessed more of his earlier work compared to the previous two years, the essence of The Rough and Rowdy Ways tour prevailed, poised to conclude its run in 2024. None of the songs from the 2020 album were performed in their original arrangement, as fans familiar with Dylan’s ongoing evolution both live and in recorded sessions know all too well. This included the exquisite “I Contain Multitudes,” which was executed with a more vigorous tempo than the serene studio version, while “False Prophet” closely mirrored the original composition.
The most peculiar version of the night was undoubtedly “When I Paint My Masterpiece,” which was cleverly played over the instrumentation of “Istanbul (Not Constantinople).” It wasn’t particularly surprising when Dylan emerged from behind his piano for a number of songs, microphone in hand, engaging with the audience through movement. The enigmatic Bard showcased a jovial spirit throughout the evening, adding a touch of humor to his performance. This lightheartedness was exemplified during his brief harmonica solos on “Key West (Philosopher Pirate)” and his playful mixing of lyrics—an amusing spectacle that may have gone unnoticed by many. The highlight of the show also featured the powerful “Desolation Row,” elevated by a spirited acoustic guitar backdrop. Each familiar Dylan tune prompted fusillades of exuberant cheers and applause, especially when the iconic bass line of “It’s All Over Now, Baby Blue” resonated through the venue. Special credit goes to Tony Garnier, the bandleader and bassist who has collaborated with Dylan for an impressive thirty-five years.
Fortunately, the evening was far from over, as Dylan delivered two exquisite versions of the more subdued tracks “I’ve Made Up My Mind to Give Myself to You” and “Mother of Muses.” The combination of Dylan’s weathered yet poignant vocals paired with evocative lyrics propelled the first track to one of the concert’s definitive highlights. The concert’s grand finale featured “Every Grain of Sand,” during which Dylan exhibited his most impressive harmonica playing of the night. After delivering this powerful performance, he posed for the customary photo opportunity. Venues had mandated mobile phones to be secured in Yondr bags, to be reopened only upon exiting the Lotto Arena — a stipulation that had been widely reported in the media.
Bob Dylan once again delivered an extraordinary concert at the Lotto Arena, as nearly every song unfolded in a remarkably unique fashion. Longtime fans possess a keen understanding of the unpredictable nature of Dylan’s live performances and likely departed the venue thoroughly satisfied. Conversely, more casual attendees may have struggled to reconcile the radical reinterpretations. At eighty-three years of age, Bob Dylan exhibited a vitality and artistry that astonishingly surpassed his previous performance at Forest National two years prior, particularly with his compelling renditions of “Desolation Row” and “It’s All Over Now, Baby Blue.”
Dylan’s emotive delivery and poignant storytelling, providing a rare glimpse into the heart of his lyrical genius.
Throughout the concert, the energy in the Lotto Arena surged as Dylan showcased a vibrant and deeply personalized interpretation of his extensive catalog. The evening was peppered with masterful piano work and dynamic guitar riffs that added a fresh flair to his most beloved tracks. As he navigated through the setlist, it became abundantly clear that this was not just a show—this was an artisanal experience, crafted with care and passion, presenting the audience with something new and yet deeply familiar.
The sheer unpredictability of Bob Dylan’s performances contributes to the ongoing allure of witnessing him live. Whether he is contemplating existential themes or simply delighting in the joy of music, each concert is akin to embarking on a riveting journey, with no certainty of what lies ahead. While entrenched fans reveled in the nostalgia interwoven with transformation, casual listeners might have been taken aback, struggling to reconcile these new renditions with the songs they had long cherished.
This rich tapestry of sound, innovation, and raw emotion solidified Dylan’s presence as a revered figure in the music industry, even at the age of eighty-three. It serves as a testament to his enduring legacy, illustrating that Bob Dylan continues to defy expectations, reinventing himself and his art unapologetically. The concert was an invitation to lovers of music to lose themselves in the experience, wherever they might find themselves on the spectrum of fandom.
As the night drew to a close, with a profound performance of “Every Grain of Sand” leaving echoes in the audience’s hearts, it was clear that despite the divisive opinions that have followed Dylan throughout his career, one shared sentiment emerged: the experience of attending a Bob Dylan concert remains an adventure worth taking—each moment a delightful uncertainty, and every note a glimpse into the soul of a timeless artist forever evolving.
