Bob Dylan – Wembley 2007 Review

The heady days of Bob Dylan returned at the turn of the new century. Where the legendary songwriter had spent a decade in the dark, he was revitalised by the Time Out of Mind boom and, later, Love and Theft. Though the release was overshadowed by the haunting terrorist attacks of September 11, the quality of the album lingered. It sparked a return to form for Dylan which had been absent in the bulk of the 1980s and the 1990s. He was still a touring man and had no trouble selling out shows but the promise of important and respectable new material was always an additional, well-needed draw. As such, Wembley 2007 is in good stead. A year on from the release of Modern Times, Dylan finds himself mixing his greatest hits with his modernised moves. What is not to love about Donnie Herron on pedal steel? 

This two-disc piece is a delight. Cat’s in the Well is given a necessary overhaul, a booming groove of guitar work from Stu Kimball, Herron, Denny Freeman and Dylan on electric guitar. It is a compact and tight recording, a performance with hit after hit. Dylan is not afraid to take risks on this Wembley appearance. Wembley 2007 may be best remembered for featuring the likes of The Lonesome Death of Hattie Carroll and Most Likely You Go Your Way (And I’ll Go Mine), essential tracks which now allude the live set. Clarity is key for the vocal performance throughout this and Dylan has a good standard throughout Wembley 2007. Plenty of space for the instrumentals to breathe and grow, all the while Dylan makes sure the wording and interplay of Don’t Think Twice, It’s All Right sound as fresh and liberating as it did in the studio. Masterful work throughout a light and breezy-sounding set.  

Steady guitar work is the real draw here. Watching the River Flow sounds bombastic and warm. Dylan is recognisable and in good form on the instrumental sections of this piece, a delightful and welcomed overhaul of his classic tracks. There is room for the hidden depths of his discography too. Contemporary pieces of the time like The Levee’s Gonna Break and Spirit on the Water are welcome additions to a setlist reassuringly filled with those expected hits. Shelter from the Storm and Not Dark Yet are incredible bonus closers preceded by the Wembley show recordings of Like a Rolling Stone and All Along the Watchtower inclusions. What may be a shock is the first bonus track, Queen Jane Approximately, a song he has never truly shuffled away from the touring setlist.  

Welcome surprises around every corner at the Wembley 2007 set make it a more accessible and enjoyable post-Time Out of Mind release for Dylan. Those years between the cultural reignition and the delve into American songbook classics. A fine line is drawn and the golden period between has pockets of joy within. Skilful interpretations of his very best work with a constant, cool guitar addition. Stick around for an incredible Summer Days performance. The swinging joy of a Chuck Berry-like guitar riff is a welcome experience. One of the better days for Dylan in the live circuit, a man on constant tour and always in with a chance to amaze. Wembley 2007 is in no shortage of essential and intensely fun bits of work.