LIVE REVIEWS
Before Bob Dylan even walked onstage Friday night to kick off the summer Outlaw Music Festival tour at Ameris Bank Amphitheater in Alpharetta, Georgia, word circulated through the fan community that big changes were afoot in Dylan World. Super fan Ray Padgett was on site with early reports that gospel-era drummer Jim Keltner was taking over from Jerry Pentecost, and pedal steel player Donnie Herron was out after a 19-year stint in the band.
But nobody was prepared for the remarkable show that followed, which was one of the most surreal and unpredictable nights in the 36-year history of the Never Ending Tour. After three years of playing a static set built around his 2020 LP, Rough and Rowdy Ways, and select deep cuts from the past, Dylan presented a completely new show heavy on Fifties covers and his original tunes from the past two decades. The only songs recorded prior to the turn of the millennium were 1990’s “Under the Red Sky” and 1975’s “A Simple Twist of Fate.”
The tone for the night was set when he opened with a cover of Willie Dixon’s 1955 blues standard “My Babe.” Later in the evening, he broke out Chuck Berry’s 1959 classic “Little Queenie,” the Fleetwoods’ 1959 hit “Mr. Blue,” the 1951 Hank Williams masterpiece “Cold, Cold Heart,” and Sanford Clark’s 1956 rockabilly hit “The Fool.”
There’s no record of him playing any of them throughout the course of his career. There wasn’t a single selection from Rough and Rowdy Ways, but he did break out four songs (“Early Roman Kings,” “Long and Wasted Years,” “Pay in Blood,” and “Scarlet Town”) from 2012’s Tempest.
Willie Nelson is headlining every night of the Outlaw tour, but hours before showtime, news hit that that he was under the weather and would be missing the first four shows “per doctor’s orders.” Lukas Nelson and the Family Band subbed in. That meant fans who bought tickets hoping to see the elder Nelson and hear their favorite Dylan Sixties tunes were in for a long evening. They did, however, get to see Robert Plant and Alison Krauss cover Led Zeppelin’s “Rock and Roll” and “The Battle of Evermore,” along with “Gone Gone Gone,” “Please Read the Letter,” and “Rich Woman” from their own albums. Celisse took the stage first.
LIVE REVIEWS
Arriving at The O2 for the first night of Radiohead’s London residency, we walk in under Stanley Donwood artwork lining the walkway and the lines of the band’s bleak modern chant “Fitter Happier” printed on a huge banner hanging from the ceiling of the former Millennium Dome. The moment instantly brings back memories of walking into Oasis’ Live “25” tour earlier this summer. This is the other major rock return of the year and the atmosphere carries a different kind of excitement, yet the intensity feels just as real. Instead of bucket hats and throwing drinks into warm air, we have cold weather and a slow shuffle through the night to gather in the dark. Toniiiiiight, I’m a pig in a cage on antibiotics.
It almost feels unreal that nine full years have passed since Radiohead’s last album, the rich and sorrowful “A Moon Shaped Pool”, and that they have not toured since 2017. In between, we have seen several side-projects, including Ed O’Brien’s overlooked but inspired solo run as EOB and the way Thom Yorke and Jonny Greenwood nearly recreated Radiohead’s spirit under a different name through the sharp jazz-rock of The Smile, as well as a wave of controversy.
After performing in Tel Aviv in 2017, questions grew louder about the band’s connection to Israel as the horrors of the genocide in Gaza intensified. Attention landed on Greenwood’s collaboration with Dudu Tassa, an Israeli musician who has played for the IDF, and on Yorke’s later comments responding to criticism. The guitarist had joined anti-government protests in Israel, where his wife is from, and the band recently made their views clear again by speaking out against Netanyahu’s regime, insisting that music should be something that unites people from every culture. That idea guides the show tonight, where there is no sign of protest or boycott.
The audience surrounds the stage, which sits in the center to create a more personal and absorbing feeling than most massive arena shows ever manage. A flickering vocoder opens the room and builds tension before the band walk out and jump straight into old-school territory with the raw guitar gloom of “The Bends” opener “Planet Telex”. It is one of many choices designed to thrill the crowd from a group not always associated with this kind of approach, and the packed venue screams back “everything is broken. why can’t you forget?” as a shared release against everything falling apart in the world around us.
With a “busking approach” guiding the tour, the band rehearsed more than 70 songs and have performed around 43 so far, so this is not the predictable hit conveyor belt of Oasis’ shows. It feels refreshing to never know what is coming next. The setlist leans heavily on the treasures from “OK Computer” and “In Rainbows” and gives equal space to the once-dismissed but now appreciated “Hail To The Thief”. It creates a kind of Radiohead-style hit parade, without “Creep” of course, and includes the occasional glammed-up oddity to let the show breathe.
There is the roaring political fear of “2+2=5”, the huge and aching sweep of “Lucky”, the pulsing electronic rush of “15 Step” and the joyful sing-along of “No Surprises” anchoring the early part of the performance. This section also includes “Sit Down. Stand Up.” with a new soft happy hardcore ending, “Bloom” from the fragile “The King Of Limbs” that now carries a brighter neon energy, and “The Gloaming” flowing into “Kid A”, giving the night a moment to sink before everything intensifies again.
There is not a single chance for a toilet break from that moment onward. From the gentle pain of “Videotape”, to the wild three-part surge of “Weird Fishes/Arpeggi” into “Idioteque” and “Everything In Its Right Place”, to the guitar-driven “In Rainbows” songs and the massive first-act finale of “There There”, every moment lands exactly how a Radiohead fan would hope. The visuals also look spectacular.
Then we reach the reward of a seven-song encore that reads like fantasy on paper, complete with the newly viral “Let Down”, a playful return to “a song we wrote on a freezing cold farm in 1994” with the indie powerhouse “Just”, and the huge final blow of “Karma Police”. This show becomes the cinematic and artistic contrast to Oasis’ carefree chaos, capturing that feeling of “standing on the edge” and letting everything wash over you. The entire night carries a fierce energy and a well-judged sense of scale, offered with warmth and intention, and Yorke leans fully into his rockstar presence as the band rotate around the stage to engage each part of the arena. For a group that once cringed at the idea of “arena rock”, no one performs it better. A new album and another night like this would be welcome as soon as possible.
‘Planet Telex’
‘2 + 2 = 5’
‘Sit Down. Stand Up.’
‘Lucky’
‘Bloom’
‘15 Step’
‘The Gloaming’
‘Kid A’
‘No Surprises’
‘Videotape’
‘Weird Fishes/Arpeggi’
‘Idioteque’
‘Everything In Its Right Place’
‘The National Anthem’
‘Daydreaming’
‘Jigsaw Falling Into Place’
‘Bodysnatchers’
‘There There’
‘Fake Plastic Trees’
‘Let Down’
‘Paranoid Android’
‘You and Whose Army?’
‘A Wolf at the Door’
‘Just’
‘Karma Police’
