LIVE REVIEW: Bob Dylan live at the Royal Albert Hall: A Night of Reinvention

Bob Dylan’s storied relationship with the Royal Albert Hall dates back to 1965. A year later, he returned to play what has since been immortalized as his “most famous concert ever,” a show now etched into history as part of his Bootleg Series. With a catalogue spanning 39 studio albums (excluding his numerous bootlegs), anticipation was high over what gems might surface in tonight’s setlist.

Dylan could have opted for a grand, theatrical entrance as a living legend: the band kicking off with a dramatic crescendo, backed by a dazzling display of lights and nostalgic visuals showcasing Dylan’s career highlights. Instead, he chose the path of humility and grace. Dylan took the stage alongside his band, which had no flashy screens, just minimal and understated lighting. This unadorned entrance was met with palpable respect from the packed house—a reminder that, at 83, he still prefers substance over spectacle.

The night opened with an unexpected and raw take on “All Along the Watchtower,” led by Dylan at the piano, his voice augmented with a subtle echo. This version felt neither like the original recording nor the famous Hendrix cover; it was a new incarnation as if Dylan were challenging his most ardent fans to recognize the classic in its latest form. The audience rose to the occasion, applauding warmly as they deciphered the reimagined tune.

For the second number, Dylan turned his back to the audience, letting the band weave a mysterious, cryptic soundscape that evoked shades of Tom Petty and Bruce Hornsby. When he finally faced the crowd and sang, the familiar rush of recognition swept through the hall, culminating in a burst of applause as they collectively realized it was “It Ain’t Me, Babe.” It was a thrilling moment, proof of the crowd’s deep connection to his music.

Most of the evening’s setlist drew from Dylan’s recent Rough and Rowdy Ways album. Unlike the reinvented classics, these songs were performed true to their recorded versions, yet the energy was electric as if the audience was experiencing something entirely fresh. “False Prophet,” with its sultry, burlesque vibes blending rock and blues, received a wildly enthusiastic response. Dylan’s rendition of “Black Rider” brought further delight, featuring a stirring harmonica solo and the introduction of a haunting double bass line. “Crossing the Rubicon” paid homage to the twelve-bar blues tradition, while “Key West (Philosopher Pirate)” saw Dylan tipping his hat to Beat poets like Ginsberg, Corso, and Kerouac.

Dylan continued to surprise with more inventive rearrangements of his songs. A moment of confusion and awe arrived when what first appeared to be the melody of “Make You Feel My Love” (famously covered by Adele) transformed into a poignant reimagining of “It’s All Over Now, Baby Blue.” A powerful rendition of “Desolation Row” opened with pounding, almost tribal drumming—a new, visceral twist on the Highway 61 Revisited classic. Lesser-known gems like “To Be Alone With You” from Nashville Skyline and “When I Paint My Masterpiece,” originally popularized by The Band, added depth and variety to the set. The show concluded on a high note with “Every Grain of Sand,” a highlight from Shot of Love, often seen as the culmination of Dylan’s Christian trilogy.

Dylan’s attire—a jacket and trousers reminiscent of Michael Jackson’s Motown 25th Anniversary look—was his only nod to showmanship. He kept things simple, avoiding speeches, costume changes, and unnecessary theatrics. Instead, he let the music and his band—including Grammy-winning guitarist Bob Britt and legendary drummer Jim Keltner (famed for his work with George Harrison)—do the talking. It was a masterclass in musical intimacy and connection.

Bob Dylan’s approach to his live setlists, much like his career, remains ever-changing. It would have been easy for him to indulge in nostalgia, recreating the iconic 1966 Royal Albert Hall set. Instead, he played just one song from that historic show, “Desolation Row,” reimagined for a new era. It was a powerful reminder that, for Dylan, the past is a foundation—not a crutch. His willingness to innovate and reinterpret his classics left the audience enthralled. It ensured the night was not merely a tribute to history but a testament to an artist still moving forward.