The 1975, and you’ll hear a musician bringing fresh life to his 1960s chestnuts while also exploring newer material from. But much of what’s written about Rolling Thunder—the tour’s traveling-circus environment, the bittersweet reunion with past peers , the emphasis on spontaneity and community, Dylan’s wearing of white makeup on stage, the disastrous filming of the woebegoneproject—has always been more intellectually intriguing than artistically satisfying.
Those electric performances—buttressed by arena-rock guitars and Scarlet Rivera’s chainsaw-ferocious violin—are so transporting you may wish Scorsese had dispensed with interviews from Baez, playwright Sam Shepard and others, who largely tell you the same things you always hear in artist-approved music
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