Eighteen times. That’s how many times I’ve now seen Bob Dylan perform live, stretching from my first encounter at Earls Court in 1978 to this latest performance at the Royal Albert Hall in 2024. Each time has been different, sometimes mesmerising, sometimes challenging, sometimes unexpected, but always an experience. With Dylan now 83 years old, I couldn’t help but wonder: could this be the last time he will grace a UK stage?
Dylan performed three nights at the Royal Albert Hall, a venue steeped in his own history. Back in 1966, it was here (or more accurately, in Manchester, before the tapes were mislabelled) that he was famously heckled with a cry of “Judas! “as he shifted from folk to electric. Nearly 60 years later, he was back—still unpredictable and always, still rewriting his own rulebook.
The show was part of his Rough and Rowdy Ways world tour, an era that has seen Dylan settle comfortably into the crooning, jazz-infused, storytelling style he’s been refining over the past two decades. The setlist was carefully curated, blending selections from Rough and Rowdy Ways with reimagined versions of classics from his immense back catalogue. A performance shrouded in mystery and surprise.
Firstly, no photographs allowed. We each had to have our phones placed in a small, sealed wallet while in the performance. This was actually a smooth process and did not take as long as I feared. I am not quite sure what the purpose was, but the result was that it forced me to concentrate on Dylan and his performance without any distractions. Hence no photographs, the images are a selection of my programmes from over the years, my poster from the Albert Hall and a picture of me with 250000 others watching Dylan at Blackbushe Aerodrome in 1978 (see image, I am the guy stood in the centre with long black hair and beard, those were the days)
One thing was immediately clear …. this was a concert on Dylan’s terms. The Royal Albert Hall stage was dimly lit, wrapped in an atmospheric golden glow. As has been the case for years now, no cameras, no phones, no distractions, just music. There was no spoken word from Dylan, no greeting, no small talk. He let the songs speak for themselves.
He opened with “All Along the Watchtower,” an immediate reminder that while his voice has changed, the power of his words remains eternal. Stripped of its anthemic energy, this version was slower, moodier, drenched in blues and introspection. From there, “It Ain’t Me, Babe” followed, its defiance softened by Dylan’s aged, world-weary delivery. Hearing “Desolation Row” live was also a special moment, Dylan’s phrasing bending and twisting each line, revealing new nuances in a song I’ve heard a thousand times before.
“When I Paint My Masterpiece” was another highlight—its theme of travel and artistic longing feeling especially poignant, as though Dylan himself was reflecting on his endless journey. Although I didn’t know much of his newer material, “I Contain Multitudes” and “Black Rider” stood out, both tracks sounding even richer in a live setting. Dylan has long blurred the lines between personal confession, poetry, and theatre, and in these songs, he seemed to embody the mysterious, wandering figure he’s always hinted at being.
Perhaps the most moving moment of the evening came with “Every Grain of Sand,” Dylan’s meditation on fate and grace. His voice, ragged but expressive, carried an undeniable weight as he delivered the final words of the set.
And then—just like that—it was over. No encore, no grand farewell. Dylan left the stage as quietly as he had entered, slipping away into the shadows, just as he always has. At 83, Dylan is still reshaping his own legacy. The raw energy of those early performances—where he sneered through protest songs and reinvented rock music—has given way to something more reflective, almost intimate. This wasn’t a show for casual fans expecting Blowin’ in the Wind singalongs. This was a deep, immersive experience, rewarding those willing to listen rather than just remember.
As I left the Royal Albert Hall, I couldn’t help but feel a quiet gratitude. Eighteen times I’ve seen Dylan live, and each time has been different. If this was to be the last, it was a fitting end—subtle, masterful, and completely on his own terms. Fingers crossed though … perhaps number 19 could be waiting for me in the hopefully not too distant future. Oh, and wouldn’t it be wonderful to get to number 20 Mr Dylan.
Many thanks to Laura for assisting with the blog and Chris for helping manipulate the site. And to carers Jan and Jackie both of whom enjoyed the experience as much as me. An iconic artist in an iconic building which carries so many memories for him and me. Wonderful. Legend cannot even begin to cover it.
Setlist: All Along the Watchtower, It Ain’t Me, Babe, I Contain Multitudes, False Prophet, When I Paint My Masterpiece, Black Rider, My Own Version of You, To Be Alone With You, Crossing the Rubicon, Desolation Row, Key West (Philosopher Pirate), Watching the River Flow, It’s All Over Now, Baby Blue, I’ve Made Up My Mind to Give Myself to You, Mother of Muses, Goodbye Jimmy Reed, Every Grain of Sand.
So this was another streaming event, this time by our old friend and troubadour Bob Dylan. I expected the event to be live, but it was clearly pre-recorded. However, this was not a disappointment and did not detract from the enjoyment of the concert, rather the pre-recorded setting of the event enabled a greater depth and atmosphere than would have been possible had it been a live performance. The streaming started late on Sunday night UK time and although I was really looking forward to it, I have to admit to wimping out and watching it the next morning.
Picture the scene. A smoky bar somewhere in Marseille, Dylan surrounded by his musicians including guitars and double bass and performing in front of a small audience. Everyone in the audience was smoking very heavily (and it looked like genuine smoke, but I suspect it wasn’t, and I also suspect that they weren’t really sitting directly in front of Dylan). However the effect was great and looked genuine. Dylan was dressed well, sometimes there was a change of suit or jacket; sometimes he would be playing guitar or mouth harp, sometimes simply standing singing. Sometimes he would be centre stage, and for other songs he would be to the left. The credits told us that the bar was in Marseille, but this was actually fictitious. I’m sure that it was all recorded within studios in America; but nonetheless, as I have said earlier, the effect was authentic and absolutely excellent.
This was Bob Dylan, in my view, reborn. No more strange vocalising, no more “up singing”; this was Dylan with a strong, deep, emotional voice that in many ways returned to the form he was on in the late 1970s when I first saw him. This was Dylan performing, no more standing still, he would make small mannerisms with his hands; pointing and moving to emphasise the lyrics. When he sang classics (particularly the ones I recognised) such as “Forever Young” and “I’ll be your Baby Tonight” his voice was deep, twisting and turning and emotional. This took me back to the Dylan I saw in Blackbushe Aerodrome in 1978. Tremendous. I had tears in my eyes. The old Bob has returned, singing to us from his heart and his soul in a way that he has not achieved, in my view, for many years. You have to see it to understand. He really was that good, in my view.
Dylan, at 80, remains a unique and indescribable presence in modern music. Long may the troubadour continue to sing to us and let’s hope the never-ending tour will soon resume so that we can witness the legend perform for us again. 
This was the the most recent gig by Bob Dylan at Newcastle Arena, and my last posting on Bob for now. Although I have seen him since 2007 (two gigs; both in Scotland; one in Edinburgh and one in Glasgow) I have already blogged on those concert experiences. David and I went to this gig and had good seats in the fourth row. The big suprise of the evening was an excellent version of House of the Rising Sun, which of course features on Dylan’s first album. He presumably did so in tribute to The Animals, and because he was plaing in their home town. Great stuff, and worth the entrance price for that song alone. 
From The Journal: “Rock legend Bob Dylan is thought to have acknowledged a 40-year-old debt to Tyneside band The Animals when he played in Newcastle this week. The singer-songwriter thrilled thousands of North-East fans when he played a version of House of the Rising Sun at the Metro Radio Arena on Thursday night. Dylan had recorded a version of the traditional folk song for his debut album in 1962, only to see The Animals score a massive hit both in Britain and America when they released a rock ‘n’ roll version of it two years later.” Setlist: Cat´s in the well; House of the rising sun; Watching the river flow; It´s alright, ma (I´m only bleeding); The levee´s gonna break; When deal goes down; I don´t believe you (She acts like we never have met); Masters of war; Rollin´n and tumblin´; Desolation row; Spirit on the water; Highway 61 revisited; Nettie Moore; Summer days; Like a rolling stone. Encore: Thunder on the mountain; All along the watchtower
David and I drove to Manchester and stayed in the Travelodge just up the road from the arena. We had floor seats about half way back the massive MEN, which is a vast venue. The place was packed and there was a definite buzz in the air; the crowd were really up for seeing Dylan, and he didn’t let them down. This was one of the best Dylan concerts that I have attended in recent years. Dylan spent much of the evening from behind the piano, as on the previous couple of times we’d seen him. 
His singing was much stronger and there was less evidence of the strange up-singing that had featured a lot in performances of that time. The whole arena sang along to Like A Rolling Stone. Highlights for me were I’ll Be Your Baby Tonight and Lay Lady Lay. Jack White was in the crowd and walked passed us just before Dylan took to the stage. Setlist: Maggie’s Farm; She Belongs To Me; Cry A While; Lay, Lady, Lay; Most Likely You Go Your Way (And I’ll Go Mine); Million Miles; Stuck Inside Of Mobile With The Memphis Blues Again; I’ll Be Your Baby Tonight; Man In The Long Black Coat; Down Along The Cove; Girl Of The North Country (acoustic); Highway 61 Revisited; A Hard Rain’s A-Gonna Fall; Summer Days. Encore: Like A Rolling Stone; All Along The Watchtower.
I’ve got a couple more Dylan concerts to cover after this, and then I will have blogged on all of my Dylan concert experiences. I figured Dylan is of such legendary stature that I really need to say something about each time I have experienced him in concert, but to be honest I’m finding it difficult, as the concerts have started to blend together in my memory. This is particularly true of the Newcastle Arena gigs, as I’ve seen Bob 5 time at that venue. Anyway here goes: Dylan was back at Newcastle Arena in 2004. David and I had good seats, in the second row, but a little too much to the side. 
This was a classic Dylan concert, one of the best times I’ve seen him. He was singing great, and the sound was really clear. I remember that the highlight for me was This Wheels on Fire, which I hadn’t seen him sing before, and it was a truly great rendition of the song. Setlist: Seeing The Real You At Last; Tell Me That It Isn’t True; Lonesome Day Blues; Under The Red Sky; Cold Irons Bound; Ring Them Bells; Tweedle Dee & Tweedle Dum; This Wheel’s On Fire; Highway 61 Revisited; The Lonesome; Death Of Hattie Carroll; Bye And Bye; Honest With Me; Masters Of War; Summer Days; If Not For You; Like A Rolling Stone; All Along The Watchtower
David and I drove down to Sheffield to see Dylan on this cold autumn evening in 2003. David was studying in Leeds at the time so I picked him up first. We got stuck in a massive traffic jam between Leeds and Sheffield and arrived at the venue just a few minutes before Dylan came on stage. We were meeting David’s friend Joel at the venue, as he was studying in the city; we quickly met up and then took our seats. We were sitting in the upper tier to the side, quite far away from the stage, so Bob was a small dot so far away from us. 
Dylan was playing a lot of piano during that period, and spend most of the show behind the keyboards. This was an ok performance by Bob, but his voice wasn’t strong and the sound mix was pretty murky. Dylan was still suffering from a throat infection, which has forced him to cancel a gig in Ireland a few days earlier. However we all enjoyed the event and seeing Dylan. David and I spent the night in a Travelodge near the venue and drove back the next morning. Setlist: Maggie’s Farm; It’s All Over Now, Baby Blue; Cry A While; Desolation Row; It’s Alright, Ma (I’m Only Bleeding); Girl Of The North Country; Tweedle Dee & Tweedle Dum; Man In The Long Black Coat; Stuck Inside Of Mobile With The Memphis Blues Again; Highway 61 Revisited; Every Grain Of Sand; Honest With Me; The Lonesome Death Of Hattie Carroll; Summer Days. Encore: Cat’s In The Well; Like A Rolling Stone; All Along The Watchtower
David and I had great seats for this Dylan gig, in the front block and a few rows from the front. It was a real treat to have such a good view of our hero. The gig itself was ok; but my no means the best time I’ve seen Dylan in concert. Reviews afterwards were very mixed, which is often the case with Dylan concerts. Its almost as if some fans were at different concerts; its funny how different people see the same gig in so many different ways. Reviews on the Boblinks site showed both ends of the spectrum, with one guy saying “There are simply no bad Bob Dylan concerts these days.” and “Last night there were of course some songs I enjoyed more than other songs, but that does not give me the right to knock those other songs, for they still are multiple times preferable to anything else performed by any other band or artist out there.” 
Another fan declared the Newcastle gig “The Newcastle show was over, and so far Kait and I were immensely disappointed. The crowd was horrible, security was bad, Bob’s guitar solos were terrible, his harmonica was less than great, and he just wasn’t trying with his performance in general.” and “Anyway, this show was the worst Bob show I’ve seen and I’m not exaggerating: it was disappointing.” David and I enjoyed the gig, and being so close to Dylan was enough in itself. I do remember that his singing wasn’t great, and there was lots of his “up-singing”. Setlist: Wait for the Light to Shine; Song to Woody; It’s Alright, Ma (I’m Only Bleeding); Love Minus Zero/No Limit; Solid Rock; Just Like a Woman; Subterranean Homesick Blues; Cry a While; Mr. Tambourine Man; A Hard Rain’s A-Gonna Fall; Tangled Up in Blue; Standing in the Doorway; Summer Days; Cold Irons Bound; Leopard-Skin Pill-Box Hat. Encore: Love Sick; Like a Rolling Stone; If Dogs Run Free; Honest With Me; Blowin’ in the Wind. Encore 2: Highway 61 Revisited
I took David to this gig, for his fist taste of Dylan in concert. This was one of the better times that I have seen Dylan, and David was impressed enough to come and see him with me on several more occasions in the years that followed. We had bought tickets quite late and, as a result, we ended up with seats which were quite far back. Still our view of the stage was still ok. The arena was full this time, after a far from sold out gig at the same venue in 1998. Dylan and his band were on great form and the set featured a lot of his better known songs. There was a mix of electric and acoustic versions, and the encore contained a surprising seven songs. He finished with a lovely acoustic version of Blowin’ in the Wind. 
This was the start of me trying to see Dylan every time he came to the North of England or Scotland over the coming years, often accompanied by David or Laura. Setlist: Duncan and Brady; The Times They Are A-Changin’; It’s Alright, Ma (I’m Only Bleeding); Delia; Tangled Up in Blue; Searching for a Soldier’s Grave; Country Pie; Standing in the Doorway; Stuck Inside of Mobile With the Memphis Blues Again; Tell Me That It Isn’t True; The Wicked Messenger; Rainy Day Women #12 & 35. Encore: Things Have Changed; Like a Rolling Stone; Don’t Think Twice, It’s All Right; Man of Peace; Forever Young; Highway 61 Revisited; Blowin’ in the Wind. 
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