"BobDylan concerts in America are different" -
Bob Dylan atWillie Nelson's 2025 Outlaw Festival Concerts on the Road
Again (Chapter 1) -Live in Saratoga Springs, New York, 2nd of August 2025
- by Christof Graf - AttendingBob Dylan concerts in the United States is
different for a European thanattending a Bob Dylan concert for a European
in Europe. Somehow, as a European,I have the feeling of coming to the
cradle of American songs every time Iattend a Dylan concert in North
America. And it'sdifferent to experience Bob Dylan at one of these Willie
Nelson Outlaw MusicFestivals. Yes, these Dylan concerts are also different
from Dylan's soloconcerts in the States. They are also shorter and usually
last about 75minutes. And yes, the setlists are also different and don't
follow the songsequence at the concerts of the "Rough And Rowdy Ways"
tour. 

As in 2017for the first time and in 2024 for the second time, Bob Dylan
will be back inWillie Nelson's musical "traveling circus" through the
States for thethird time in 2025. The concept of the "Outlaw Music
Festivals" issimple as well as ingenious. The Outlaw Music Festival is a
recurring musicfestival founded by Willie Nelson where he and his family,
along with otherartists, perform in various venues across the United
States. The festival isnot a single event, but a tour with changing
musicians. The Outlaw MusicFestival has been an annual event since 2016
that celebrates Willie Nelson'slife and legacy, taking place in various
cities across the country. The now92-year-old American country singer,
guitarist, songwriter and"highwayman" is one of the most important
personalities of theso-called outlaw movement and the genre in general,
whose roots lie in the1960s of the 20th century. The movement gathered
musicians who wanted to breakfree from the "commercial shackles" of
Nashville and play their ownmusic. Willie Nelson & Family are the main
actors of this festival series,but other artists such as Bob Dylan in 2025
are also represented at variousstops. In 2025, the festival celebrates its
10th anniversary. And it isprecisely this historical atmosphere, including
Willie Nelson's commitment tothe legalization of cannabis, that surrounds
these festivals. 

But enoughof the advance philosophy, "Don't Think Twice, It's All Right",
asthe last of 17 songs at Bob Dylan's 75-minute performance in Saratoga
Springsis called. For me, Dylan's appearance was clearly the highlight of
the 37degree Celsius hot day. 

The gatesopen punctually at 3:00 p.m. and everyone first looks for their
seats in thecovered amphitheater-like stage construction before the
obligatory queues format the merchandising stand. Others get deck chairs
to direct their eyes to thestage with the Outlaw logo on the green in
front of the amphitheater. There,too, you can follow the music enjoyment
without having to accept too much lossof sound. The acoustics on the
Saratoga grounds are really exceptionally good,even if you watch the
action a little away or outside the covered but stillair-open arena.
Waylon Payne from Willie Nelson's backing band opens theconcert day at
4:00 p.m. for a good half hour. Just 20 minutes later, LucindaWilliams,
welcomed with warm applause, enters the stage. I don't really knowmuch
about her work, but I had the feeling that many in the audience are
veryfamiliar with it. Already with the first notes of songs such as the
opener"Real Live Bleeding Fingers and Broken Guitar Strings" or
"WestMemphis" or "Lowlife" the audience applauds in advance."Stolen
Moments" by Tom Petty and "While My Guitar GentlyWeeps" by „The
Beatles“ I recognize very quickly. Her set lasts an hour,during which
she stays almost motionless or only moving very slowly near themicrophone
stand, while the rest of her band goes full throttle. – consequencesof
her stroke in 2020, which prevents her from playing her beloved guitar.
-During the "Mittrocken" of Neil Young's "Rockin In The FreeWorld", a
classic that her band stages almost like the original, youhardly notice
the fact that she had to learn to walk again after the stroke.The standing
ovations for the grand dame of US roots rock and alternativecountry rock
after the final chord are more than appropriate. 

After a25-minute break, Wilco from Chicago are on stage. They are famous
for theirindividual form of indie and alternative country rock. They also
have a"Story To Tell" to tell, according to the opener-song of
their75-minute set. Unbelievable, occasionally even unbearably loud is the
16-songconcert. For the last two songs, Willie Nelson's harmonic player
Mickey Raphaelis on stage with Wilco. At the latest with "Impossible
Germany" andthe last song, the "Grateful Dead" cover "U.S. Blues", Ibegin
to fall in love with the music of Wilco and think of that of "TheGrateful
Dead". When Dylan shows up in Wantagh the day before, it wouldhave been
Jerry Garcia's 83rd birthday. Eight days after Saratoga, when
Dylanperformed in Hershey, it would be the 30th anniversary of Jerry
Garcia's death.- Especially these two songs have something profound for me
this evening. Atfirst listening, not everything is immediately
understandable, and sometimes itdoesn't seem to make sense. The music
doesn't seem easy catchy to me, rather abit transcendental and offers
something ambiguous in every song. The resultingfeeling for this concert
atmosphere on this hot summer evening of August 2 fitsvery well with my
anticipation of Bob Dylan. 

Hisappearance is a celebration. Dylan opens the Saratoga performance
with"Positively 4th Street", which has not been heard live for ages. 

When Dylancomes on stage punctually at 8:05 p.m., it is still light on the
SPAC grounds.Less than an hour earlier, Bob's tour bus drove left-stage to
the edge of thestage. Last year, Dylan refused to play in front of the
Outlaw Festival tourlogo. This year he does not refuse and allows himself
to play in front of the"10th Anniversary Tour Logo". In contrast to
Lucinda Willimas andWilcos, his stage equipment is set up in the back
area, far away from the frontedge of the stage. Bob's piano is set up in
the middle of the stage. To hisleft is Bob Britt on the electric guitar,
to his right Doug Lancio, whoinitially plays acoustic guitar. In the
background of Bob, Tony Garnier'selectric bass and Anton Fig's drumming
hold the song together. There is not toomuch light and was not necessary.
It was still bright and only four smallbackground lamps look like street
lights. The subtly illuminated outlaw motifcreates an unusually bright
stage atmosphere, compared to his Rough And Rowdyways performances. 

"Positively"is the first setlist change so far for the second part of the
2025 Outlaw Tour.At the five previous concerts of the second part of the
tour, it was"Gotta Serve Somebody" who opened the shows.

After"Positively" follows with "I Can Tell" a first cover. Theoriginal was
written by Samuel Smith. For this, Doug Lancio switches fromacoustic to
electric guitar. The R'n'B-like song stands for Dylan's joy ofplaying and
his crystal-clear singing this evening. 

With"Forgetful Heart" Dylan loses himself in his own desire to
improvise.The band pays meticulous attention to the word stretches and key
variations oftheir boss. Eye contact between the musicians is not
observable or audibleuntil then. Nor are they necessary. The concert is in
flux. The musicians arewell attuned to themselves. Dylan plays and sings
standing behind his piano,without looking at the audience. A kind of
wreath of lights on the pianosometimes covers his face. The piano is clad
in reflective silver plates. 

"AxeAnd The Wind", is another cover. The original was written by
George"Wild Child" Butler and integrates seamlessly into the blues mood
ofthe song. Dylan plays the harmonica for the first time at the end of the
song. 

On "ToRamona" Doug changes guitars from electric to electric guitar.
TonyGarnier reaches for the stand-up bass. Dylan performs "To
Ramona"almost emotionally, contemplatively and also sitting down for the
first timethis evening. The audience, which actually moderated itself a
bit during theotherwise almost obligatory beer fetching during Dylan's
performances, began tosway along to the folk waltz. 

In the past,it was often the case that Dylan had to find himself vocally
first and onlysucceeded after a few songs. In Saratoga, Dylan has found
himself from thefirst minute and intones his own as well as someone else's
song well,respectfully and balanced. The concerto almost seems to be
constructed like noother before. Loss of voice, interpretation errors and
uncoordinatedinteraction are simply not planned and not taken into
account. The concert isalready striving for a certain precise perfection
after "Under The RedSky". Bob gets up again, but not without leaving his
position. Bob Dylanalmost seems to have merged with his piano. He does not
step up to thefree-standing microphone. Dylan in a black suit with a dark
patterned shirt anda light beige noble Stetson hat with a black hat band
stops behind the piano.Sometimes he plays the harmonica with his right
hand, as in the song "I'llMake It All Up To You" by Charlie Rich, the
third cover song of theevening. At this point, at the latest, you can
really notice Dylan's joy ofplaying. He hardly sits down and sways into
the rhythms of his music, which hehas staged himself. He now occasionally
looks at the audience and alsoexchanges glances with Bob, Tony and Doug. 

And then shecomes back. The often-quoted, initially unrecognized
introduction of a song,which then peels out of the unknown into the
familiar of a song. In this case,it belongs to "All Along The Watchtower".
Dylan improvises on hiskeys to give an old song a new groove. The
guitarists put solos over it untilthe boss brakes again and puts his
corset on the song again. 

"Till IFell in Love With You", "Desolation Row" and "LoveSick" are three
other Dylan originals to which their creator puts newmusical garments. In
"Till", Bob brings the blues into the house. Thefive musicians almost
manage to create big band blues sound in Chicago style.–Splendid. After
"Along", "Desolation" is a secondhighlight with a positive surprise
character. The song, performed seated,leaves room for another of several
small song passages that sound like jamsessions. Almost cautiously, the
band invariably clings to Dylan'spredetermined tempo with acoustic
instruments and lets their boss improvisewherever he wants. At times, his
voice only seems to speak or even whisper, asif he were concentrating on
both the articulation of word and the staging ofsound in equal measure, so
as not to make a mistake. "Desolation"seems to be particularly important
to Bob Dylan this evening. "LoveSick" is more important to me. I love this
blues-rock song from 1997's"Time Out Of Mind" album more than anything,
for which Dylan gets upagain. The band becomes more electric and a bit
louder again. Looking back intothe audience and outside at the location,
the "Broadview Stage" issurrounded by a summery evening light. Few go to
get beer. Dylan captivateswith acting and singing. 

During thefollowing "Share Your Love With Me", my not very
communicativeright-hand seat neighbor can no longer hide his supposed
displeasure about thesetlist. "Just another cover," he shouts disappointed
about the songpenned by Alfred Braggs and Deadric Malone. "Maybe Dylan
would like torelease an outlaw live album with cover versions in Americana
style after thetour," I call back. It is the thirteenth song of the
evening.

An almostbeguiling and tenderly performed version of "Blind Willie
McTell",which I have never heard before, is recited by Dylan sitting
again."Blind" suddenly gets something jazzy. Antin Fig strokes the
eardrumsalmost tenderly with his drumsticks and sensitively stabilizes the
rhythm setby Tony Garnier on the stand-up bass. 

Tony startsbobbing after the song. Dylan stands up. The drums get louder.
The band getslouder. The sound explodes in the "Highway 61 Revisited"
song. Thethird highlight in a highlight concert. Swinging, like an old
diesel engine,consistent in rhythm and reliably keeping the tempo, the
song makes you want togo back to the good old days, whenever they were and
no matter how good theyactually were back then. Unexpected and new: Bob
did not introduce his band, ashe did the day before in Wantagh after
"Highway".

"SearchingFor A Soldier's Grave" makes me look at my neighbor again. He
just shrugshis shoulders when we hear the fifth cover of the evening. "The
man haswritten over 600 songs, why does he perform so many of others. I
can'tunderstand it," he calls over to me. I just shrug my shoulders. It's
darkoutside and I'm just thinking to myself, "Don't Think Twice, It's
AllRight" when I hear the first lines of the last song of Bob's
performancein Saratoga. Again, Dylan builds a bridge from the past to the
present. Hespeaks the song more than he sings it. In this contemporary
interpretation,Dylan manages to re-explore old places in Dylan's song
landscape for us.Brilliant. A perfect finale for a perfect concert between
original and newversion, by whomever the original and new version are.

75 minutesafter the concert begins, it's over. Dylan stands up after a
short harmonicaplay on "Don't Think" at the end of the song, stands
briefly next toTony Garnier and leaves the stage without saying a word to
the audience. Thelights go out. The stage crew begins to prepare the stage
for Willie Nelson. 

The eveningis flowing. The congregation finally dares to urinate again and
fetch new ones,before 92-year-old Wille Nelson enters the stage with his
band 30 minutes laterpunctually at 9:50 p.m. In the background, as in the
previous year, thestage-sized "Stars & Stripes" flag can now be seen.
Thepreviously hung stage curtain falls and Willie Nelson begins his
one-hourconcert with classics such as "Georgia On My Mind", "Roll Me Upand
Smoke Me When I Die" or "On The Road Again". P.S.: On theway back to "New
York City" I read signs like "Woodstock","Saugerties" or "Bethel. I know
that this outlaw festivalconcert evening on the east coast of the USA will
not be my last this year,still listening to Dylan's "Highway 61" and
Nelson's "On TheRoad Again". And a visit to the "Bethel Woods Center for
theArts" and the Woodstock Museum there should not be missed on my US
EastCoast trip in 2025. German version plus some photos you can find
here: https://leonardcohen.de/?p=33322

Positively Fourth Street as an opener. That made the four hour trip worth
it by itself. Done as a country shuffle similar to You Ain’t Going
Nowhere and short a verse or two it worked well. The rest of the set was
the same as the night before at Jones Beach. This time instead of being 20
rows from the stage we opted for lawn seats. Two reasons really. One we
couldn’t afford the ticket prices and a hotel room and tolls and gas and
secondly, at SPAC the sound outside the shed is much clearer than inside.
Lucinda and Wilco mixed up their sets a bit from the night before as well.
Next stop for us Camden?

Futzi Wailer