| Reviews Brussels, Belgium BOZAR October 28, 2025 |
Review by Christof Graf
"Brussels, I've already outlived my life by far" - Bob Dylan in
Brussels 2025 - Review 3rd Night -
Tuesday evening, October 28, 2025, I look at the clock and it is 10:08
p.m.. It's just under half an hour after the third Bob Dylan concert in a
row at the Bozar in Brussels this year. I drive out of a nearby underground
car park and switch on the navigation system. From the Palais des
Beaux-Arts in Brussels to the Palaisdes Congres in Paris it is about 312
kilometers. The route leads from the centre of Brussels through various
districts of the Belgian capital to the motorway ring road and from there
on the E19 and the A1 to the French capital. Already at the first
roundabout not far from the Bozar I see Bob Dylan's tourbus, which turns
into the roundabout in front of me. From then on, Bob Dylan and I have the
same route towards the 'Brussels Ring" for 20 minutes. After that, we part
ways and I will probably see him again in Paris for another 100 minutes on
stage.
Flashback, Bozar, Tuesday evening, October 28, 2025, 8:00 p.m.. The hall
lights go out. The concert starts on time. The location, the stage, the
band and the setlist remain unchanged again. Dylan re-enters the stage in
third place after Doug Lancio and Tony Garnier. Then Anton Fig takes a seat
at his drum kit and Bob Britt walks up to his guitar stand. Dylan doesn't
look at the audience, but immediately at his musical comrades-in-arms.
Above all, he directs his gaze to Tony Garnier. He nods back. Dylan sits
down on the piano chair - as on the previous evenings with his back to the
audience. He grabs his guitar lying on a small bench and starts with "I'll
Be Your Baby, Tonight". Those who were already present at one or even both
of the previous evening's concerts at the Bozar could get the impression
right from the beginning that Dylan feels comfortable, feels good. Welcome,
he definitely was. The audience cheered him frenetically as soon as he
entered the stage and then again frenetically when they recognized the first
lines of the lyrics. From then on, there were standing ovations after each
song and sometimes even enthusiastic applause in the middle of the
song. The good mood of the audience quickly transferred to the joy of
playing of Bob and his band. Attending a third concert in a row opens up new
perspectives on the songs presented to the listener. Even if they are the
same songs, you hear them differently. You payattention to other things. I
notice that Dylan performs the lyrics much more accentuated this evening.
With many songs you can almost feel how important it seems to be to Dylan
that you get involved in his concert and how grateful he seems to be when
this happens. This statement is often heard this evening and especially
during the epic "Key West". As the narrating "Philosopher Pirate", Dylan
conveys his thoughts to his Brussels audience in the form of a reflection
on the past. At times, he seems like a professor who offers his students
perspectives. The audience in the sold-out Bozar is not only an attentive
witness to his "lectures", but also a grateful listener. After completion,
each song is celebrated almost enthusiastically with clapping and
respectful cheers. But the band is also cheered, which is conspicuously
distinguished especially during this song. Tony and Anton discreetly
provide rhythm and Doug Lancio (again with flat cap) and Bob Britt sprinkle
occasional guitar sounds into the ten-minute lecture. Everyone and
everything seem highly concentrated. Even the audience (again consisting
mainly of boomers) concentrates and engages more deeply with Dylan's
performance than the audience of the previous evenings. The hall is just as
darkened and the stage is just as one-dimensionally lit in dark red and
yellow as on the second evening in Brussels. The sound is even
better, almost perfectly mixed. Dylan's voice seems crystal clear and you
understand more of the lyrics than on the evenings before. Lines like "I've
grown so tired of chasing lies/ Mother of Muses wherever you are/ I've
already outlived my life by far" resonate. A small echo of "Black Rider"
can also be heard. Dylan is in his element. He only gives Bob Britt a short
hand signal twice, as a small "warning" not to play even one note too many
on the following lines. Britt implements the hand signal, understanding and
nodding. The quality of a concert experience from the audience's point of
view always depends on the seat, the view and the surroundings. This was
also almost perfect on the third evening in Brussels, at least for me. On
the third evening, I sit on the first balcony and look stage-left at the
stage. I discover new details. Two mugs stand on a side table to Dylan's
left. Every now and then he takes a sip from it. Dylan is dressed all in
black again. Black T-shirt under black suit, black shoes, black socks. The
rest of the band also wears black. During the faster songs, Dylan bobs his
left leg continuously to the beat. For the first two songs, Dylan picks up
the guitar. On the four songs, "When I Paint My Masterpiece", "To Be Alone
With You", "Desolation Row" and the final "Every Grain Of Sand" he plays
harmonica at times. The concert is subject to a certain dramaturgy with a
few louder, faster numbers such as "Goodbye Jimmy Reed" and mainly quieter,
slow numbers. A little surprise: Dylan's face can be seen in bright,
unobtrusive light all evening. Those sitting on the ground floor only see
this when he gets up briefly every two or three songs. Compared to the
previous evenings, those sitting on the balconies experience an almost
unusually illuminated face of Bob Dylan. Those sitting a little closer even
see the twisting of his mouth, the baring of his teeth when he drags
outwords or simply squeezes them out in a staccato manner. And in some
verses you can also see a smile, a smile and sometimes even a little laugh
about his just recited word. The phrasing of the voice is precise. The
third evening in Brussels seems relaxed and motivated. As soon as Dylan
does not experience any initial difficulties such as on the first evening
in Brussels, the microphone is positioned correctly, the hall sound is
optimal and the audience reacts correctly in Dylan's sense, all the
prerequisites for his joy of playing seem to be optimally fulfilled.
Something arises that could be described as a continuously increasing
atmospheric density. If Dylan experiences such a continuously high-quality
atmosphere, it seems to develop from song to song just as continuously
high-quality in her performance. The interplay between art, artist and
audience becomes a melange and a successful evening for all involved. On
this evening, everything was successful. I don't have any expectations of
"Paris", but anticipation is already there. See you in Paris.
(German version you can find in my blog: https://leonardcohen.de/?p=33605
Review by Sascha Priester
Reviewing Bruxelles Night #3 means summing up one of the best Bob
Dylan concerts surely since my first RARW gig in 2022, but also since my
very first Bob Dylan concert in 1995. Many reasons for this: a perfect
seat enabling to see everything on stage and to hear
everything coming from the stage, a stellar sound mix, no distraction
around me, me not being tired, my buddy Bodi next to me. But most
important, of course, an inspired, creative and from the start to the end
fully concentrated Bob Dylan with his excellent band, interacting with
each other, creating and experimenting with new sounds and rhythms.
Laughing at each other, nodding in approval, having fun in front of a
thankful and loving audience - with the listeners being that respectful
and concentrated as the protagonists on stage. An unforgettable night!
1. I'll Be Your Baby Tonight (Bob on guitar and baby grand piano) Mr. Dylan
entered the stage, took the guitar seated. Together with Tony and Doug he
formed a small circle for this song's intro. From the four shows I've
seen since Lingen, easily the tightest and most focused Version of this
song, shining also because of the powerful singing. 2. It Ain't Me, Babe
(Bob on guitar and baby grand piano) While the first Bob Dylan guitar
melodies really added another voice to the opener, for the second
tune it obviously did not work out that good as compared to the last
nights. But it didn't matter. After the try, Mr. Dylan's voice became
more and more prominent and warm. So, a kind of warm-up too, I guess.
3. I Contain Multitudes (Bob on baby grand piano) The 2025 European approach,
very melodic, very soft vocal nuances were varied a bit more, also the
band sound got more punch. A convincing stage in this still developing
song's performance. Better than in the days before I'd say.
4. False Prophet (Bob on baby grand piano) En par with yesterday and the day
before - a highlight in the 2025 setlist. Vocally, musically so varied so
full of voices. Moods. Is there Mephistopheles speaking? The Mephistopheles
in everyone of us? Great, great full band sound, rocking the house. Awesome.
5. When I Paint My Masterpiece (Bob on baby grand piano and harp)
Just perfection tonight, surely one of the best incarnations,
I've witnessed since this very tune returned as a staple Into the
setlists. From the beautiful harp intro into this band driven, rhythm
tower of a song. What a voice! Different voices and volumes. Well, a
masterpiece, painted musically live in front of us. 6. Black Rider (Bob on
baby grand piano) Greatness remained in the hall. Intensity. Transcendence.
This atmospheric, haunting, inner dialogue (With the Creator? With
the Devil? With the Death? With the higher force that impersonates all
these epiphanies? With yourself?) about each and everyone's fate,
uncertainty, fragility and mortality continuing the "Senor" topic of
"Where are we going?", "What's the sense of all this here?" was
enriched not just by the usual strong vocal performance but also by
stunning piano and guitar interactions. A live highlight again, and a
cathartic experience as in ancient drama. 7. My Own Version Of You (Bob on
baby grand piano) The de-arranged version, again mastered very, very
successful. This European leg's treatment is for me the summit of this
very tune's now long history of different versions. Kudos especially to
Mr. Fig's playground of rhythms and sounds enhancing the unique
atmosphere full of surprises and sensual impressions. Though, to pick
cherries, Bruxelles 1 was in my eyes and ears even more poignant and
courageous because of Dylan's exceptional strong and regarding his vocal
range often kind of youthful voice that very evening. 8. To Be Alone
With You (Bob on baby grand piano and harp) After this part of really
heavy stuff, this slot and song serves to let it loose. To rock out. To
free from some burden and also the needed artistic concentration. To have
fun and just play around a bit with this tune. To gain power also for the
next heavy part of the RARW concert. Tonight the best result since Lingen,
very good singing and a more than welcome harp break as an additional
voice. 9. Crossing the Rubicon (Bob on baby grand piano) Back to
serious stuff. Again this image of stepping over the border as a physical
but also transcendental act was imminent in the stunning narrator's
tale. Great band interactions and instrumental parts, too. Another
highlight of this year's tour. 10. Desolation Row (Bob on baby grand
piano and harp) Maybe one of the best performances ever, I've heard Bob
Dylan create live in concert. The special voice echoing the 1966 singing
style, trained again in the last days, led to Beautiful sung lines
treasuring word by word, stretching the lines with full breath,
emphazising every final word of a line. To make this surreal 1966-2025
time our of mind/mind our of time even more precious the completely
inspired and focused singer took the harp just to play a long break of
sheer brilliance before returning to the piano and the last, important
verse. But the vocal approach was not 1966 nostalgia, it was also new and
more varied at the same time. What an outstanding performance of a song,
that was rather sloppy in Lingen and Bruxelles 1, while re-gaining some
power already yesterday. Now the akme! Surreal, I still can't believe
it... 11. Key West (Philosopher Pirate) (Bob on baby grand piano) The Muses
were here tonight - and they stayed. The de-arranged approach of the last
shows remains for - this epic and masterful crafted tune still, with great
efforts. This is a tower of a song on its own. And a beautiful rendition
caught the audience. Though I still hold here Bruxelles 1 higher, because
of the then even more voice nuances... 12. Watching the River Flow (Bob on
baby grand piano) Time for another loose rocker', but also as with
"To Be Alone With You" tonight's version was far, better than
at the nights since Lingen. Great singing and band sounds. 13. It's All
Over Now, Baby Blue (Bob on baby grand piano) Well 4 shows, 4 different
versions. What's more to say? Creativity rules. While Lingen was the
final concert for the astonishing soloish approach made famous first in
2024 in London crowned with a harp solo, Bruxelles 1 went already away
from this now ended period, here trying to add rockier piano and band
sounds and omitting the vintage harp. Yesterday in Bruxelles 2 there was
the idea to play a rather spontaneous, unrehearsed(?) full band version
with drums. The result was, hm, not that overwhelming. So what surprise to
see tonight the band forming an inner circle not to destroy the newest
arrangement, rhythmically between a slow waltz/rumba-ish treatment. This
innovative approach was vocally demanding, urging and inspiring Dylan to
stretch the lines very much plus to give them meaning and expression. In
fine vocal shape the singer was more than successful, he added also nice
piano interplays to this tune, being a work in progress if wanted to be
so. Let's see what the shows in Paris will bring here. 14. I've Made Up
My Mind To Give Myself To You (Bob on baby grand piano) No flaws in sight
and, yes, there didn't come any. A very beautiful performance again as
in the last days, full of conscience, wisdom, dedication and pure love.
Also here the band sounds as the vocal moods to be expressed are still
developing. 15. Mother of Muses (Bob on baby grand piano) Personally I do
rate the prayer versions of fall 2024 higher than the 2025 versions. Still
uncertain why, but the complex band sound does take too much away from
this song's soul, I guess. Mr. Fig is too dominant here, sorry to say,
there is space needed for reflection and near silence. But this said, it
was anesthetic nice version. The lyric flub (a second "struggled")
was improvised that way that the line still made sense. Incredible effort
by the singer to keep his level of concentration, his musical craftmanship
and his genius on a permanent high tonight. Unbelievable! 16. Goodbye
Jimmy Reed (Bob on baby grand piano) The during the last concerts tested
"Folkie" style got an outing here with strong and interesting, maybe
the best of my four 2025 shows. I am really curious where this tune
getting better and better will head to. Great band sounds here, too, of
course. 17. Every Grain of Sand (Bob on baby grand piano and harp) Also
here news: Tonight the tune started with Bob Dylan complete solo, singing
softly and on piano, no band backing. When his mates grooved in slowly
also the voice showed more expression and power before than developing to
a spiritual rock ballad in full band glory, closing with the since
Bruxelles 1 slightly shortened harp ending. A fanfare to a very special
evening and a sound of hope, that I'll see Bob Dylan and his band again
in 2026. May the Gods be with him and us!
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