Bob Dylan – Down in the Flatlands Review

Primarily ripped from pre-Covid tours from Bob Dylan Down in the Flatlands is a sweet compilation. It uses the early years image of Dylan as a rambler, a man who would perform a string of shows with nothing but the guitar on his back and the harmonica in his pocket. For those who want an idyllic look at the touring schedule Dylan now undertakes, Down in the Flatlands will do you well. It will also provide you with some of the strongest performances Dylan gave in the run-up to Rough and Rowdy Ways. The drawl Dylan now has in his performances, the tempo guided by a baby grand piano, offers a whole new experience for these classic songs. You can hear that come to life on this unofficial compilation, which does well to balance the classics with deep cuts Dylan would feed into his setlist. You would be forgiven for thinking the tracklist is all one show, such is the quality carried over from each performance. 

Opening song Things Have Changed sets a high bar for the compilation. A swaggering, staggering, piano-led bit of brilliance from the band as they cover the song which won Dylan an Academy Award. Down in the Flatlands then utilises a welcome balance of all-time greats with Like a Rolling Stone and hidden gems such as Workingman’s Blues #2 and Long and Wasted Years to paint a picture of Dylan as an inquisitive artist who is keen to question the form of his music. It softens some songs, like Blind Willie McTell and Love Sick, but it is a tone working overtime for some staggering versions of When I Paint My Masterpiece and It’s All Over Now, Baby Blue. Slowed tempo and stylish piano playing is naturally going to gravitate towards the tracks which could use a sombre note or two. Dylan is careful not to make the emotional turmoil of the song too on-the-nose, but it is unavoidable.  

It draws listeners to Simple Twist of Fate, even if other live versions are superior. That softer touch could be interpreted as Dylan letting his guard down, but really it is just another example of the veteran performer finding new life for an old song. High Water benefits from that style, a brilliant version which feels closer to stomp and holler than rock and roll. Later songs in the collection, like Cry a While are not only suitable adaptations where the electric guitar and piano layers overlap tremendously, but it shines a light on a lesser-known song. A thoroughly great Love and Theft track which needs more love. Pairing it with Most Likely You Go Your Way (And I’ll Go Mine) cements the quality of the track by removing it from anything which could feel similar. Smart bootlegging work is on display throughout Down in the Flatlands.  

Having a tone and tempo for a compilation is a thread that few official releases can follow. To hear it so well developed on Down in the Flatlands is a delight. Dylan sounds strong throughout these songs, expertly selected and compiled well. Sharp guitar playing can be heard on Most Likely You Go Your Way (And I’ll Go Mine), but there are standout moments throughout the set. This should be no surprise, and yet the quality of Down in the Flatlands makes it so. Some great, modern performances from Dylan can be heard throughout this set. Down in the Flatlands gives listeners a chance to connect and reconnect with some of those very best bits, the often-overlooked pieces.