Bob Dylan – Kiel 1994 Review

Listeners are spoilt for choice when it comes to Bob Dylan bootlegs from a significant career peak. His nine years of Never Ending Tour performances, Kiel 1994 included, are nothing short of masterpieces. Brilliant performances from across the globe as the Columbia recording artist takes to the stage with a fine blur of hits and deep cuts. Such is the case for many shows between 1994 and 2003. What makes Kiel 1994 special is what separates all these great bootlegs. The setlist. A time when Dylan was keen to experiment with the formation of songs in his show, right around the time he was dealing with a reawakened interest in his earliest works. The MTV Unplugged performance is to thank for that, and the impression it leaves on his wider tour is clear. No longer is there a fear of presenting his old songs with new tones.  

The heavier rock qualities of the 1980s were slim, and this reinvention in the mid-1990s is a far greater experience. All it takes to know this is a listen of Jokerman, a rendition here which is not afraid of sparse moments, of softer, contemplative stylings. That is a quality indicator for Kiel 1994, and it happens for many of the songs featured. A quicker tempo to some of the vocal work on Jokerman is, perhaps, a sign of nerves. But Dylan had been in the game long enough at this point to push those feelings down. He does just that. If the expectation of his work had left audiences assuming more, he gives it to them. All Along the Watchtower and Oh Mercy cut Disease of Conceit are where Dylan finds a cooler, confident tone which carries through the rest of the show. That latter track is performed to perfection. It’s where you can hear Dylan and the band click into place in one of their most enjoyable performances from ‘94.  

Tangled Up in Blue is given an incredible, acoustic-led arrangement and an extended instrumental start. Those are the little flickers of change which matter most for those hunting down stellar live moments. Dylan rushes the vocal work again, hoping the focus is more on his, Bucky Baxter, and John Jackson’s guitar work. It works to some degree. Pair it with a selection of all-time great songs like Positively 4th Street, It’s All Over Now, Baby Blue, and Love Minus Zero / No Limit, and you have one of the strongest runs (on paper) that Dylan has ever pieced together on stage. It’s a set of songs which are as strong as it would appear, with wonderful arrangements and a comfortable vocal range. There are moments where the hurried tone sounds a bit ridiculous, but it’s another spot of experimentation from Dylan.  

Indefensible to some, interesting to others. Kiel 1994 is more for those who want to hear what happens when Dylan gives his songs a more out-there sound. A style which benefits a frequently played song like Ballad of a Thin Man but pulls from the very fabric and meaning of a track like Girl from the North Country. Such are the highs and lows of an interesting performance from Dylan and the Never Ending Tour band. Winston Watson remains a steady presence, as does Tony Garnier, for these shows. The latter has served the longest, and his subtle yet strong style of keeping a song flowing is crucial to those moments of experimentation from Dylan. It’s a fine blur of instrumental activity, one which can be heard brilliantly throughout Kiel 1994.