Bob Dylan dusts off Mr. Tambourine Man for first performance in 15 years
Bob Dylan performed 'Mr. Tambourine Man' live for the first time in 15 years.
The music legend performed at Willie Nelson's 'Outlaw Music Festival Tour' on Tuesday (13.05.25) and near the end of the set he dusted of his 1965 classic.
The evening ended with another surprise as Dylan covered The Pogues' 'A Rainy Night in Soho' to close off the 13-track setlist.
Dylan also performed 'Forgetful Heart' for the first time since 2015 and many more live rarities.
Earlier this year, two pages of Bob Dylan's lyrics sold for more than half a million dollars.
The 83-year-old singer was the subject of a sale from Julien's Auctions in Nashville, with over 60 items - including photos, music sheets, a guitar, and art work - going under the hammer, generating almost $1.5 million in both in-person and online bidding and sales.
And the typewritten two pages of Dylan's drafted lyrics to 'Mr. Tambourine Man' accounted for one third of the total sales, with the winning bidder agreeing to fork out $508,000.
The yellow sheets of paper also included the folk legend's handwritten annotations to the three drafts of the 1965 songs.
The next highest-selling items were a 1968 oil-on-canvas painting created and signed by the 'Lay Lady Lay' singer in 1968 and a custom 1983 Fender guitar which he had owned and played, which went for $260,000 and $225,000 respectively.
All but 10 of the lots were from the personal collection of late music journalist Al Aronowitz, and his son Myles told the New York Times newspaper he'd found Dylan's lyrics while searching through 250 boxes of his father's "remarkable" collection over a period of several years.
He noted: 'He never threw anything away."
The journalist had previously claimed Dylan had written the original drafts in his New Jersey home after splitting from girlfriend Suze Rotolo.
According to the auction house,Al wrote in a 1973 article: "Bob Dylan wrote 'Mr. Tambourine Man' one night in my house in Berkeley Heights, N.J., sitting with my portable typewriter at my white formica breakfast bar in a swirl of chain-lit cigaret [sic] smoke, his bony, long-nailed fingers tapping the words out on my stolen, canary-colored Saturday Evening Post copy paper while the whole time, over and over again, Marvin Gaye sang 'Can I Get a Witness?' from the 6-foot speakers of my hi-fi in the room next to where he was, with Bob getting up from the typewriter each time the record finished in order to put the needle back at the start.(sic)"
He later 'found a waste basket full of crumpled false starts" and though he was about to take them to the trash, he took out the "crumpled sheets, smoothed them out, read the crazy leaping lines" and then put them in a file.
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Three albums in, though, it's become a nuisance to his art. It's perhaps understandable then, that when a writer starts whiffing around his politics in an interview, Fender's haunches go up. Does he get criticism for talking openly about politics? 'I mean, yeah, do you?' Fender replies. Well no, nobody cares about a thing I say, and I have the analytics to prove it. Has he had bad experiences with the press over it? 'O'course I have, all you've gotta do is Google my name and find all the things that look salacious. I could tick them all off for you,' he says. Does he feel pressure to be a voice for the working class? Fender laughs heartily and I've set him off. 'No, I don't… Ah f---, I don't know. Sorry, I guess I'm battling with that myself at the moment,' he says. 'People bandy around these f---ing sayings – 'voice of the working class', 'voice of a generation' – I hear this f---ing shit all the time and it's ridiculous. I'm not f---ing Bob Dylan. I'm not Bruce Springsteen. I'm Sam Fender. All I'm doing is me f---ing songs, writing about my lived experience, the people I know and what's going on in me hometown. It's just a couple of good tunes, that's all and nothing more.' You can sense the frustration of a young artist trapped in a persona foisted upon them. Or, at the very least, the pressure of expectation from a culture craving their next rock 'n' roll saviour. Right now, Fender doesn't want the job. 'Half the songs I've released I can't f---ing stand because I wrote them when I was a kid!' he says. 'They're not 'songs of a generation' and I'm not 'the next Bruce Springsteen'. I'm just a kid – well, a f---ing 31-year-old man – who's writing songs! I just don't feel comfortable when anybody brings in 'working-class hero'. It doesn't have to have that weight. I'm sorry, I'm probably not in the best state to be doing this interview. Probably gonna brutalise us in the print, hey?' Fender's drinking beers in the back of a pub in North London when we Zoom, enjoying some rare downtime between tours and, significantly, off the back of a jaunt to break America that included a slot at Coachella and high-profile press in publications like the Los Angeles Times ('At home he's a hero. Is America next for Sam Fender?' went that headline). 'I want to break America, who doesn't? That's your f---ing life sorted if it works. But I told my manager we need to make sure we're looking after the territories that have supported us so far,' says Fender, whose arena tour hits Australia in November. 'We'll go to America and we'll lose a lot of money, but Australia is blowing up for us right now so of course we're coming to Australia. That's where the fans are, and it's a big amount of people. It's happening there, so let's go.' The States should be simple enough, I tell him. Jump on a tour with, say, Zach Bryan, a simpatico heartland rocker, and hit those endless small towns where fans can't help but empathise with Fender's hard-won story. The people will eat it up. Look at me, I add, talking like I know what I'm on about. 'Sure, maybe you should f---ing manage us,' Fender jibes. In the meantime, he's focused on writing. He's already begun work on album number four, which is, I remind him, traditionally the 'artist's album'. At this point, you take no notes. 'It's funny you say that because I literally said, I am going to make this album and no c---'s gonna f---ing hear it 'til it's done. Once it's done, they can have it and if it sells, it sells. If it doesn't, I don't care.' Loading He's torn between two intriguing angles. 'There's some stuff I've been making that's a little more thrashy, a bit more Replacements. And then some stuff that's really stripped back, just pure folk songs. We'll see what happens. But it's going to be a vinyl with 10 f----ing songs on it and if people like it, then that's wonderful and if they don't, then fine. But it will be what I want.' In the midst of such chaos, this working-class hero has surely earned the right.
