Bob Dylan was already in good standing ahead of 1997. Galvanised by the reception to his MTV Unplugged performance and that dirty word, nostalgia, the veteran songwriter appeared rejuvenated in the shows to follow. Pair that with the build towards writing and releasing Time Out of Mind, and you have Dylan working at his very best. He was on fire in the studio and his stage shows at the time showed a new side to the chameleon-like artist. He provided a powerful new energy on stage here and you can hear exactly that on Fragmental Rock, a bootleg which serves as a read on the mood in Dylan’s camp in 1996 and 1997. A monumental two-hour compilation of easy-going rock and roll. This is the best Dylan has sounded on-stage since the 1970s, and it’s also his most consistent tour since then. Sparks of interest throughout the 1980s are nice, but we cannot live on crumbs alone. Fragmental Rock packs a punch.
Dylan sounded fairly confident in the bolder choices of his discography here. Remember the context of the times. This is not at a time where When I Paint My Masterpiece was a setlist staple. It may have been for the Rough and Rowdy Ways tour thirty years later, but its inclusion in a compilation that also features the likes of To Ramona and Man in the Long Black Coat, the latter making a re-emergence on the Spring 2026 tour, is a surprise. It’s all about what Dylan wants from the instrumental section, which songs line up best for the easy-going rock and roll sound he has on his hands here. All Along the Watchtower and Like a Rolling Stone were fairly inevitable for these shows, but neither is featured here. Instead, there are examples of Dylan taking artistic risks at a time when he could just about afford to push his audience and their goodwill. Shake Sugaree opens the Fragmental Rock bootleg, and what a choice it is for an opener to any bootleg. Instrumentally rich, with some strong guitar work featured throughout.
Those are the performances fans cry out for. One Too Many Mornings is featured within this compilation too, well-placed between Masters of War and Man of Peace. Not as volatile as the Hard Rain version, this One Too Many Mornings, nor is it as sleek and relaxing as the album version. Dylan finds that fine line, as he does for many of the songs featured here. Delicacy across Fragmental Rock is a choice, rather than a certainty of age. Rough and Rowdy Ways had Dylan sounding reflective, but not aged. His spirit on the tour grew and it brings about that confidence, that thrill of improvisation, that keeps these songs fresh. Just take a listen to the likes of Watching the River Flow and Don’t Think Twice, It’s All Right for examples of that on Fragmental Rock. Penultimate track, Shelter from the Storm, is a masterclass in these pre-Time Out of Mind live shows.
Dylan is clearly moved by a spritely new style. His vocals are fairly solid, too. What becomes the decider for many of these post-MTV Unplugged performances is his vocal work. Those who enjoy the current Dylan, that understandable but uniquely gruff and croaked voice, this’ll go down a treat. For those wanting a clearer or crisper sound, there are still parts of Fragmental Rock to enjoy. He sounds a little hoarse but uses this as a tool for the songs, adding not a layer of reflection but a sense of shock to still being around, still being in possession of powerful, relevant material. A contemporary hit to say the least, but there’s so much to unpack in Fragmental Rock. Dylan returns to the stage with a new sense of purpose, not given to him by his MTV Unplugged show. He was merely reminded of what he could do, and went on to do it again.
