= Bob Dylan - Bob Links - Sioux Falls, South Dakota - Reviews - 03/22/26


Reviews
Sioux Falls, South Dakota
Washington Pavilion of Arts
Mary W. Sommervold Hall

March 22, 2026

[Mark Steck], [Billy Lurken], [Jason Molnar]

Review by Mark Steck


Dylan "Does" Sioux FallsI went to, two concerts tonight. Both shows
featured Bob Dylan Live on stage. However, I only paid for one seat and
one show. How can this be? It pains me to tell you. Dylan was brilliant
early on, and at the end. For seven middle songs he elected to stink.
I'll go further and say that the stinky portion was intentional. Please
know that I've seen Dylan over 30 times. I love his music, his genius
and his mystique. Songs 1-5-I'll be your baby tonight. Not my favorite
song but it was well done considering it's the second night of this
tour. All band members were strong as was Bob on key boards. -Watch Tower
was about as sweet as it gets. The band play quietly and Bob's Vocals
were excellent as they filled the 2100 seat auditorium. Bob was pulling
this train. Yes, he still has it. At least I thought he did. -Long Black Coat 
created a mood in stellar Dylan fashion. The vocals were strong as was the 
subdued and tight band. -I contain multitudes is a song of depth. Bob pulled 
this off in wonderful fashion. Bob Britt, Tony, and Doug leaned forward 
watching Bob's hands on the key board. I've seen his band members members 
for years do this. They watch Bob's hands because he's so unpredictable.
-False Prophet was another strong song. Bob's voice was strong and
understandable. Songs 5-12 SUCKED!. In fact "wheels came off".
"Things had changed". I say these things with trepidation as I have a
huge amount of respect for Bob. Indeed, the problem was Bob. He stopped
singing into the microphone. You could not hear him, or you could barely
hear him. The crowd was polite but between songs, random people requested
an improvement. "Bob we can't hear you", "sing louder". These
respectful requests were often and heard through the theater. The people
at the sound board tried to adjust. Feed Back ensued. Bob continued the
behavior. So, at first I thought that perhaps Bob is "slipping". However, 
Bob's keyboard playing was excellent! His brief moments on the harp were 
good. Further more song 13-16 he reengaged and finished up strong
vocally. Yes, I was miffed. I was also embarrassed as I had brought some
Bob newbies to the show. I've not booed at any type of event other
than professional wrestling. And that was in my youth. Once I concluded
this was intentional, I began to fume. During Rubicon, I pulled my hood
up. I wanted to boo. I came close but I didn't want to embarrass my
friends. In my heart of hearts I felt Bob was asking for this. Songs 13-16
Bob decided to please the packed house again. He finished strong. So why 
does Bob elect to do these things? I'd reference the years of concert
mumbling. I enjoyed those and have kept going back. But this antic pisse
me off. On the ride home my wife and I talked about why. I've felt a
times he had contempt for his audience. Check out Dave Letterman's Bob
anecdote on Youtube. My wife, on the other hand had a differing thought
which I will not float here. I've said many times that I doubt anyone
knows much about Dylan. Joan Baez said of Dylan, "he’s unknowable".
So, "it ain't no use to sit and wonder why". Tony Garnier - electric
and standup bass, Anton Fig - drums, Bob Britt - acoustic guitar, 
Doug Lancio - acoustic guitar

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Review by Billy Lurken


I was quite excited for Bob in Sioux Falls.  I don't think he's been
here for some 13 years, and the Washington Pavilion is a great venue for
shows.  After a couple of drinks at The Carpenter Bar, we strolled over to
the Pavilion.  It was a nice mix of ages for a Bob show.  There was an
excitement in the air before the show.  Highlights for me were definitely
Man In The Long Black Coat, When I Paint My Masterpiece, Don't Think
Twice, Black Rider, and Nervous Breakdown.  The band was magnificent with
Tony actually playing bass lines on six string guitar for several songs. 
But the real tragedy of the night was Bob's vocal mix.  From what we
could hear, he sounded amazing.  But he was largely inaudible for much of
the night.  And it wasn't a sound man issue.  The mic was like a foot
away from Bob for most of the night.  He was fidgeting with it, so he knew
there was an issue.  The crowd let him know it between several songs,
shouting that we couldn't hear him.  He actually seemed to hear that and
acknowledged it, but nothing was really done to fix it.  The band is
cracking.  The setlist is good.  If the vocals had been up in the mix, it
would've been a top Bob show.

[TOP]

Review by Jason Molnar


I'm walking through streets that are dead on my way to the show, the Sioux
 Falls sidewalks virtually rolled up, except for one vacant bar that is vainly 
 seeking punters by blasting Just Like a Woman out across empty Phillips 
 Street.

It's my first time in South Dakota. Yesterday, it was about 90 degrees; this 
morning, 70 degrees cooler. Wild stuff. I hiked around a state park yesterday, 
and saw two American icons at the same time--a bald eagle and buffalo. In a 
matter of minutes, I'm seeing another American icon. Bob Dylan.

The venue, the Washington Pavilion is housed in the historic former Washington 
High School. Built in phases between 1908 and the 1930s of native Sioux 
quartzite. the Neoclassical-stvle building houses several arts and science facilities, 
thanks to a $30-million renovation in the late 1990s. Because I had only seen 
photos of the interior of the theater, which is quite modern looking, I was very 
surprised and delighted to see how beautiful and old school (no pun intended, 
but ouch) the exterior of the building is. 

This was the second date of the Rough and Rowdy Ways tour's most recent 
(and last) leg, which started way back in 2021, soon after its namesake album 
was dropped. (Songs from that album are tagged with RARW below. Also, that 
album is 5 stars. Check it out.) At the tour's start, it was billed as the ""Rough 
and Rowdy Ways tour 2021-2024," which I thought to be extremely ambitious 
for an 80-year-old dude. But look at him still going, as his 85th birthday 
approaches. Eighty-damn-five! How lucky are we to have had Bob around for 
so long? Hus first album was released 64 years ago this weekend. He us music's 
Picasso. I first saw him in 1989 at Blossom Music Center, only a few dozen 
shows after bassist Tony Garnier joined Bob's band. Tony remains as Bob's 
longest-tenured bandmate by at least a couple decades. He must be a Bob 
whisperer. 

Bob's voice was soft and very tender, and he was hitting surprisingly high 
notes. I'm convinced that, in addition to the lessons he learned from his 
several albums covering songs from the standards songbook, he has taken 
some vocal lessons and stopped smoking. (Well, stopped smoking cigarettes 
at least.) Likely to match the soft singing, the entire show was all acoustic, 
save the bass. 

The opening song was I'll Be Your Baby Tonight, with Bob behind the electric 
piano, looking directly ahead of him, and the microphone, just a little too far 
off to his left. (More on the mic below.)

In the second slot was a surprise Man In the Long Black Coat, and it was more 
menacing than ever. A good portion of the show was at least semi-menacing, 
perhaps made more so by how quiet it all was. And Bob's hoodie was also a bit 
ominous, as well as Bieber-esque.

Soon After Midnight, from the album Tempest, was subdued yet evocative, 
especially as Bob crooned, "It's soon after midnight and I've got a date with 
the faerie queen."

With I Contain Multitudes (RARW) Bob, quoting Walt Whitman right there in 
the song's title, gave us a Song of (Him)self, capturing Whitman's paen to 
individualism and universalism, and, like Walt, using sensuality, nature and 
mortality to do so. Plus there is the embrace of the marginalized--but with an 
added darkness: 

"I'm just like Anne Frank - like Indiana Jones
And them British bad boys the Rolling Stones
I go right to the edge - I go right to the end
I go right where all things lost - are made good again
I sing the songs of experience like William Blake
I have no apologies to make
Everything's flowin' all at the same time
I live on the boulevard of crime
I drive fast cars and I eat fast foods ...l contain multitudes.

"Pink pedal pushers and red blue jeans
All the pretty maids and all the old queens
All the old queens from all my past lives
I carry four pistols and two large knives
I'm a man of contradictions and a man of many moods... I contain multitudes.

"What are these dark days I see in this world so badly bent
How can I redeem the time - the time so idly spent
How much longer can it last - how long can this go on."

(I can't help but reflect on all the old queens from all my own past lives...)

Appropriately dark was Black Rider (RARW). Sung at an enemy, a rival, or 
death--or perhaps all three interchangeably, Bob made it clear that the stakes 
involved were dire.

"Black rider, black rider, tell me when, tell me how
If there ever was a time, then let it be now
Let me go through, open the door
My soul is distressed, my mind is at war
Don't hug me, don't flatter me, don't turn on the charm
I'll take a sword and hack off your arm
Black rider, black rider, hold it right there
The size of your cock will get you nowhere
I'll suffer in silence, I'll not make a sound
Maybe I'll take the high moral ground
Some enchanted evening, I'll sing you a song
Black rider, black rider, you've been on the job too long."

In Key West, (Philosopher Pirate), also from RARW,  he made it clear that his 
life's work has been abundantly influenced by two groups of people. 

He first mentions the Beats, whose freedom and literary achievements gave 
him a firm foundation for him to embrace his own singular weird genius. Allen 
Ginsberg, upon hearing A Hard Rains A-Gonna Fall for the first time , cried with 
joy because he knew that the torch of rebellion's spirit had been passed from 
his generation to Bob. (With Ginsberg having been the direct heir to Walt 
Whitman, this evening completed several circuits.)

Next he mentioned some of his musical heroes, likely Louis Armstrong, Jimmie 
Rodgers, and Buddy Holly. (Although, who knows--with the Key West topic, 
he may have been referring to Jimmy Buffett.):

"I was born on the wrong side of the railroad track
Like Ginsberg, Corso and Kerouac
Like Louie and Jimmy and Buddy and all of the rest
It might not be the thing to do
But I'm stickin' with you through and through
Down in the flatlands - way down in Key West."

Vocal delivery wise, the high point of the show was during When I Paint my 
Masterpiece--which his band played to the beat of Putting on the Ritz (or, if 
you will, Istanbul Not Constantinople)--when he changed the lyric slightly to 
sing, "someday, everything"s gonna be beautiful, when I paint my 
masterpiece" And when he sang "beautiful," it was.

Although it was not a big issue for me, it soon became apparent that many of 
the audience members were displeased with how low the vocals were at the 
mix. This was probably the result of the fact that Bob had to lean over about 
10 inches to get closer to that ill-placed microphone on his left, and sometimes 
did not lean quite far enough. Fans shouted between songs that they couldn't 
hear him, and to sing louder. (At least they did it in that 
far-Midwest/Minnesota-nice manner. Nobody shouted "Judas!" at him.) After 
the show at the nearby Hello Hi bar, a 30-something local fan remarked that 
the shouting "boomers were trying to tank the vibes." 

The mix got better after a couple songs, in time for a stone-cold classic. He 
somehow made Don't Think Twice, It's Alright, which is so lyrically bitter, 
("you just wasted my precious time") into a wistful elegy, the narrator's voice 
showing his disappointment in himself that it didn't work out for him and his 
erstwhile love. Partway through, he pulled his harmonica outta his gray gamer 
hoodie, and the crowd went wild for it. 

Bob's band is top notch, tight as can be. Throughout the performance, they 
intently watched Bob, focusing on his hands on the keyboard, to make sure 
that they went where Bob would go. Bob never plays the same thing twice, 
and the band, including Anton Figg from Letterman's house band, are 
proficient at keeping up with him.

The final song was Every Grain of Sand and it was transcendent; perhaps Bob 
sang it last to reassure us that maybe the world is not as meaningless and 
chaotic as most of the prior songs had portrayed it to be--a closing "grace 
note of hope," as historian Sean Wilentz once described another concluding 
Bob song. 

Thanks Bob. Hope to see you down the road as you head for another joint. 
(Edit: thanks Bob for announcing your California dates!)

Jason Molnar 

[TOP]

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