The 1976 leg of the Rolling Thunder Revue — Bob Dylan‘s all-star caravan tour where he crisscrossed the country with Joan Baez and a band that included guitarists Mick Ronson and T-Bone Burnett and violinist Scarlet Rivera — will be chronicled in the massive, 39-disc box set The Rolling Thunder Revue: The 1976 Live Recordings.
The package, which arrives November 9, includes 381 tracks, and 371 of them have never been officially released. There’s also a booklet with liner notes from veteran Rolling Stone writer Mikal Gilmore. For a preview of the set, check out a live rendition of the Planet Waves deep cut “Going, Going, Gone” from a May 16, 1976, tour stop in Fort Worth, Texas.
The initial leg of the Rolling Thunder Revue took place between October 30, 1975, and December 8, 1975, primarily hitting smaller halls across the East Coast of the United States with little advance notice. Dylan brought a camera crew around for the ride, providing material for his 1978 movie Renaldo and Clara and Martin Scorsese’s 2019 pseudo-documentary Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese. (In 2019, every show in the vault from this tour was released on the box set Bob Dylan – The Rolling Thunder Revue: The 1975 Live Recordings.)
The 1976 leg of the Rolling Thunder Revue hit larger venues and spread out across a wider section of America. The penultimate show in Fort Collins, Colorado, was filmed for the NBC television special Hard Rain. A companion live album with the same title hit stores at the same time, though some of the tracks were taped May 16 in Fort Worth, Texas.
The nine tracks on Hard Rain and a recording of “Seven Days” from an April 21, 1976, show in Tampa, Florida, on the first volume of the Bootleg Series were the sum total of live material officially released from the 1976 Rolling Thunder Revue prior to this new collection.
Editor’s picks
The 250 Greatest Albums of the 21st Century So Far
The 100 Best TV Episodes of All Time
The 500 Greatest Albums of All Time
100 Best Movies of the 21st Century
A quirk of European copyright meant these recordings would enter the public domain if they weren’t released within fifty years of their creation. This has compelled Dylan’s record label to release several copyright protection packages in the past, though some of them were under-the-radar discs available in just a handful of record stores. The shows on this new set would have entered the public domain on January 1, 2027, if this set hadn’t been created.
Sadly, the final stop on the Rolling Thunder Revue in Salt Lake City on May 25, 1976, isn’t part of this box set because Dylan’s camp sent the recording equipment home following the Fort Collins TV taping a couple days earlier. It’s become somewhat of a holy grail show for Dylan obsessives since it featured the sole live rendition of the Blood on the Tracks epic “Lily, Rosemary and the Jack of Hearts” to this day, and the only “Gates of Eden” on the entire tour. (One contemporaneous newspaper account says Dylan also performed Desire‘s “Black Diamond Bay,” but this was likely an error.)
Four years ago, Dylan super-fans launched a campaign to find an audience tape of the show, but it didn’t produce any results. In all likelihood, it simply doesn’t exist.
But even without the mythical Salt Lake City tape, The Rolling Thunder Revue: The 1976 Live Recordings gives the Dylan fan community quite a lot to chew on over the next few years, at least until the inevitable 1978 tour box arrives in the final weeks of 2028.
The track list for Bob Dylan’s The Rolling Thunder Revue: The 1976 Live Recordings:
April 18, 1976 – Civic Center, Lakeland, FL
Related Content
Bob Dylan Wraps Up Dramatic U.S. Tour by Adding One More Guitarist Into the Mix: Jimmie Vaughan
Fights With Bob Dylan, Magic With U2: Daniel Lanois on His Life in Music
Daniel Lanois Looks Back at His Work With Bob Dylan and U2
Bon Iver’s Justin Vernon Performs Entire Set of Bob Dylan Covers at Eaux Claires Fest
Disc 1
Visions of Johanna
If You See Her, Say Hello
Vincent van Gogh
Weary Blues from Waitin’
I’ll Be Your Baby Tonight
Maggie’s Farm
One Too Many Mornings – Incomplete
April 20, 1976 – Bayfront Civic Center Auditorium,
St. Petersburg, FL Disc 2/3
Disc 2
Mr. Tambourine Man
It’s Alright, Ma (I’m Only Bleeding)
Vincent van Gogh
I’ll Be Your Baby Tonight
Maggie’s Farm
One Too Many Mornings
Seven Days
Disc 3
Railroad Boy
Wild Mountain Thyme
Blowin’ in the Wind
Shelter from the Storm – Incomplete
I Threw It All Away
Tonight I’ll Be Staying Here with You
Just Like a Woman
It Take a Lot to Laugh, It Takes a Train to Cry
Mozambique
Lay, Lady, Lay
Idiot Wind – Incomplete
Gotta Travel On
April 21, 1976 – Curtis Hixon Hall, Tampa, FL
Disc 4
Seven Days ø
Railroad Boy
Wild Mountain Thyme
Blowin’ in the Wind
Shelter from the Storm – Incomplete
Going, Going, Gone
Romance in Durango
Lay, Lady, Lay
Idiot Wind
Knockin’ on Heaven’s Door
Gotta Travel On
ø Previously released on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991
April 22, 1976 – Unaired TV Show (The Midnight Special), Starlight Ballroom, Belleview-Biltmore Hotel, Belleair, FL
Disc 5
Mr. Tambourine Man
The Times They Are A-Changin’
Blowin’ in the Wind
I Dreamed I Saw St. Augustine
When I Paint My Masterpiece
Like a Rolling Stone
Isis
Just Like a Woman
Knockin’ on Heaven’s Door
Lay, Lady, Lay
April 23, 1976 – Sports Stadium, Orlando, FL
Disc 6
Mr. Tambourine Man
It’s Alright, Ma (I’m Only Bleeding)
Vincent van Gogh
I’ll Be Your Baby Tonight
Maggie’s Farm
One Too Many Mornings
Isis – Incomplete
Disc 7
Blowin’ in the Wind – Incomplete
Railroad Boy
I Pity the Poor Immigrant
Romance in Durango
I Threw It All Away
Seven Days
You’re Gonna Make Me Lonesome When You Go
Lay, Lady, Lay
Mozambique
Idiot Wind – Incomplete
Knockin’ on Heaven’s Door
Gotta Travel On
April 25, 1976 – University of Florida Field, Gainesville, FL
Disc 8
Mr. Tambourine Man
Simple Twist of Fate
Vincent van Gogh
I’ll Be Your Baby Tonight
Maggie’s Farm
One Too Many Mornings
Isis
Disc 9
Blowin’ in the Wind
Dink’s Song
Railroad Boy
I Pity the Poor Immigrant
Shelter from the Storm
I Threw It All Away
Just Like Tom Thumb’s Blues
One More Cup of Coffee (Valley Below)
Going, Going, Gone
Mozambique – Incomplete
Lay, Lady, Lay
Idiot Wind
Knockin’ on Heaven’s Door
Gotta Travel On
April 27, 1976 – Tully Gymnasium, Florida State University, Tallahassee, FL
Disc 10
Mr. Tambourine Man
If You See Her, Say Hello
Vincent van Gogh
I’ll Be Your Baby Tonight
Maggie’s Farm
One Too Many Mornings
Isis
Disc 11
Blowin’ in the Wind
Wild Mountain Thyme
I Pity the Poor Immigrant
Shelter from the Storm – Edit
I Threw It All Away
- Stuck Inside of Mobile with the Memphis Blues Again
- You’re Gonna Make Me Lonesome When You Go
- Going, Going, Gone
Mozambique
Lay, Lady, Lay
Idiot Wind – Edit
Knockin’ on Heaven’s Door
Gotta Travel On
April 28, 1976 – University of West Florida Field House, Pensacola, FL
Disc 12
Mr. Tambourine Man
Just Like a Woman
Vincent van Gogh
I’ll Be Your Baby Tonight
Maggie’s Farm
One Too Many Mornings
Isis
Disc 13
Blowin’ in the Wind
Railroad Boy
I Pity the Poor Immigrant – Incomplete
Shelter from the Storm
I Threw It All Away
Stuck Inside of Mobile with the Memphis Blues Again
One More Cup of Coffee (Valley Below)
Going, Going, Gone
Lay, Lady, Lay
Idiot Wind
Knockin’ on Heaven’s Door
Gotta Travel On
April 29, 1976 (Early) – Expo Hall, Municipal Auditorium, Mobile, AL
Disc 14
Mr. Tambourine Man
Simple Twist of Fate
Vincent van Gogh
I’ll Be Your Baby Tonight
Maggie’s Farm
Isis
Disc 15
Blowin’ in the Wind
I Pity the Poor Immigrant
Shelter from the Storm
I Threw It All Away
Going, Going, Gone
Lay, Lady, Lay
Idiot Wind
Gotta Travel On
April 29, 1976 (Late) – Expo Hall, Municipal Auditorium, Mobile, AL
Disc 16
Mr. Tambourine Man
It’s Alright, Ma (I’m Only Bleeding)
Vincent van Gogh
I’ll Be Your Baby Tonight
Maggie’s Farm
One Too Many Mornings
Isis – Edit
Disc 17
Blowin’ in the Wind
Railroad Boy
I Pity the Poor Immigrant
Shelter from the Storm
I Threw It All Away
Stuck Inside of Mobile with the Memphis Blues Again
You’re Gonna Make Me Lonesome When You Go
Going, Going, Gone
Lay, Lady, Lay – Incomplete
Gotta Travel On – Incomplete
May 1, 1976 – Reid Green Coliseum, Hattiesburg, MS
Disc 18
Mr. Tambourine Man
Simple Twist of Fate
Vincent van Gogh
I’ll Be Your Baby Tonight
Maggie’s Farm
One Too Many Mornings
Isis
Disc 19
Blowin’ in the Wind
Railroad Boy
I Pity the Poor Immigrant
Shelter from the Storm
I Threw It All Away
Stuck Inside of Mobile with the Memphis Blues Again
You’re a Big Girl Now – Edit
You’re Gonna Make Me Lonesome When You Go
Lay, Lady, Lay
Mozambique
Idiot Wind
Knockin’ on Heaven’s Door
Gotta Travel On
May 3, 1976 (Early) – The Warehouse, New Orleans, LA
Disc 20
Mr. Tambourine Man
Tangled Up in Blue
Vincent van Gogh
Maggie’s Farm
Mozambique
Isis
May 4, 1976 – Louisiana State University Assembly Center, Baton Rouge, LA
Disc 21
Mr. Tambourine Man
Simple Twist of Fate
Vincent van Gogh
Maggie’s Farm
Mozambique
Isis
Disc 22
Blowin’ in the Wind
Railroad Boy
Wild Mountain Thyme
I Pity the Poor Immigrant
Shelter from the Storm
Oh, Sister
Stuck Inside of Mobile with the Memphis Blues Again
You’re a Big Girl Now
You’re Gonna Make Me Lonesome When You Go
Lay, Lady, Lay
Seven Days
Idiot Wind
Knockin’ on Heaven’s Door
Gotta Travel On
May 8, 1976 – Hofheinz Pavilion, Houston, TX
Disc 23
Mr. Tambourine Man
It’s All Over Now, Baby Blue
Vincent van Gogh
Maggie’s Farm
Mozambique
Isis – Incomplete
Disc 24
Blowin’ in the Wind
Railroad Boy
I Pity the Poor Immigrant
Shelter from the Storm
Stuck Inside of Mobile with the Memphis Blues Again
You’re a Big Girl Now
You’re Gonna Make Me Lonesome When You Go
Lay, Lady, Lay
Idiot Wind
Knockin’ on Heaven’s Door
Gotta Travel On
Will the Circle Be Unbroken
May 10, 1976 – Memorial Coliseum, Corpus Christi, TX
Disc 25
A Hard Rain’s A-Gonna Fall
Mr. Tambourine Man
Vincent van Gogh
Maggie’s Farm
Mozambique
Isis
Disc 26
Blowin’ in the Wind
Railroad Boy
Wild Mountain Thyme
I Pity the Poor Immigrant
Shelter from the Storm
Stuck Inside of Mobile with the Memphis Blues Again
One of Us Must Know (Sooner or Later)
You’re a Big Girl Now
You’re Gonna Make Me Lonesome When You Go – Incomplete
Oh, Sister – Incomplete
Lay, Lady, Lay
Idiot Wind
Knockin’ on Heaven’s Door
Gotta Travel On
May 11, 1976 – Municipal Auditorium, San Antonio, TX
Disc 27
Mr. Tambourine Man
Spanish Is the Loving Tongue
Vincent van Gogh
Maggie’s Farm
Mozambique
Isis – Incomplete
Disc 28
Blowin’ in the Wind
Railroad Boy
Deportee (Plane Wreck at Los Gatos)
I Pity the Poor Immigrant
Shelter from the Storm
Romance in Durango
I Want You
You’re a Big Girl Now
You’re Gonna Make Me Lonesome When You Go
Oh, Sister
Lay, Lady, Lay
Going, Going, Gone
Idiot Wind
Knockin’ on Heaven’s Door
Gotta Travel On
May 12, 1976 – Municipal Auditorium, Austin, TX
Disc 29
Mr. Tambourine Man
It Ain’t Me, Babe
Vincent van Gogh
Maggie’s Farm
Mozambique
Isis – Incomplete
Blowin’ in the Wind
Railroad Boy
Deportee (Plane Wreck at Los Gatos)
I Pity the Poor Immigrant
Disc 30
Shelter from the Storm
Stuck Inside of Mobile with the Memphis Blues Again
I Want You
You’re a Big Girl Now
You’re Gonna Make Me Lonesome When You Go
Oh, Sister
Lay, Lady, Lay
Going, Going, Gone
Idiot Wind
Knockin’ on Heaven’s Door
Gotta Travel On
May 15, 1976 – Gatesville State School for Boys, Gatesville, TX
Disc 31
I Pity the Poor Immigrant
Maggie’s Farm
One Too Many Mornings
Stuck Inside of Mobile with the Memphis Blues Again
Oh, Sister
You’re Gonna Make Me Lonesome When You Go
Tonight I’ll Be Staying Here with You
Going, Going, Gone
May 16, 1976 – Tarrant County Convention Center Arena, Fort Worth, TX
Disc 32
Mr. Tambourine Man
It Ain’t Me, Babe
Vincent van Gogh
Maggie’s Farm
One Too Many Mornings
Mozambique
Isis
Blowin’ in the Wind
Railroad Boy
Deportee (Plane Wreck at Los Gatos)
I Pity the Poor Immigrant
Disc 33
Shelter from the Storm
I Threw It All Away *
Stuck Inside of Mobile with the Memphis Blues Again *
Oh, Sister *
You’re a Big Girl Now
You’re Gonna Make Me Lonesome When You Go
Lay, Lady, Lay *
Going, Going, Gone
Idiot Wind
Knockin’ on Heaven’s Door
Gotta Travel On
*Previously released on the 1976 Columbia Records album Hard Rain
May 18, 1976 – State Fair Arena, Oklahoma City, OK
Disc 34
Mr. Tambourine Man
Simple Twist of Fate
Vincent van Gogh
Maggie’s Farm
One Too Many Mornings
Mozambique
Isis
Disc 35
Blowin’ in the Wind – Incomplete
Railroad Boy
Deportee (Plane Wreck at Los Gatos)
I Pity the Poor Immigrant
Shelter from the Storm
Oh, Sister
Leopard-Skin Pill-Box Hat
You’re a Big Girl Now
You’re Gonna Make Me Lonesome When You Go
Lay, Lady, Lay
I Want You
Going, Going, Gone
Idiot Wind
Knockin’ on Heaven’s Door
Gotta Travel On
May 19, 1976 – Henry Levitt Arena, Wichita, KS
Disc 36
Mr. Tambourine Man
It Ain’t Me, Babe
Vincent van Gogh
Maggie’s Farm
One Too Many Mornings
Mozambique
Isis
Blowin’ in the Wind
Railroad Boy
Deportee (Plane Wreck at Los Gatos) – Incomplete
I Pity the Poor Immigrant
Disc 37
Shelter from the Storm
Oh, Sister
One of Us Must Know (Sooner or Later)
Stuck Inside of Mobile with the Memphis Blues Again
You’re a Big Girl Now
You’re Gonna Make Me Lonesome When You Go
It Take a Lot to Laugh, It Takes a Train to Cry
Lay, Lady, Lay – Incomplete
Going, Going, Gone
Idiot Wind
Knockin’ on Heaven’s Door
Gotta Travel On
May 23, 1976 – Hughes Stadium, Colorado State University, Fort Collins, CO
Disc 38
Mr. Tambourine Man
It Ain’t Me, Babe
Vincent van Gogh
Maggie’s Farm *^
One Too Many Mornings *^
Mozambique ^
Isis
Blowin’ in the Wind ^
Railroad Boy ^
Deportee (Plane Wreck at Los Gatos) ^
I Pity the Poor Immigrant ^
- Previously released on the 1976 Columbia Records album Hard Rain
^ Previously broadcast on the 1976 NBC-TV special Hard Rain
Trending Stories
Macklemore Dropped From Ed Sheeran Tour After Onstage ‘Free Palestine’ Statements
Pink Responds to Fallout After Sharing Post Criticizing Macklemore’s Speech on Palestine
Robert Kraft Confirms He Barred Macklemore From Ed Sheeran Boston Shows
Oasis Announce 2027 Global Tour Dates
Disc 39
Shelter from the Storm *^
Oh, Sister
I Want You
Tangled Up in Blue
You’re a Big Girl *
You’re Gonna Make Me Lonesome When You Go
Lay, Lady, Lay
Going, Going, Gone
Idiot Wind *^
Knockin’ on Heaven’s Door ^
Gotta Travel On
A Hard Rain’s A-Gonna Fall ^
- Previously released on the 1976 Columbia Records album Hard Rain
Drake onstage in Toronto last year
Everybody Likes Drake Again. That Means We’re Healing
Not to be dramatic or anything, but not too long ago, listening to people talk about Drake, you’d think he would never top the charts again. But here we are: With Iceman, he’s broken his own record, earning a 13th week atop Billboard’s Top R&B/Hip-Hop Albums chart on Sept. 5, surpassing Take Care’s 12-week run more than a decade ago. The achievement comes after the great rap civil war of 2024, which was framed as everything from a referendum on Drake’s character as a human being to a cleansing of what popular radio host Ebro would describe, in February 2025, as “a sickness in the game.”
Again, not trying to be dramatic, but even if you were skeptical of the discourse circa 2024, it is a bit shocking to hear the public’s recent re-embrace of Drake. Consider how far the frenzy around the most salacious allegations on Kendrick Lamar‘s “Not Like Us” extended. There was Christopher Alvarez, a disabled journalist, being dragged into conspiracy theories. There was the woman from the resurfaced concert footage, now 31, having to publicly dispute the creepy significance strangers had assigned to an onstage kiss from when she was 17. Drake said in his lawsuit against UMG that the threats had forced him to pull his seven-year-old son out of school.
What now feels like the absurdity of the moment registered as something deathly serious at the time. By September 2024, Lamar was releasing the ominous “Watch the Party Die,” just days after his Super Bowl halftime performance was announced. Oh, also, a major talking point in American culture a year and a half ago was whether one of the biggest superstars in the world would be publicly branded a pedophile during the Super Bowl.
In what world would any celebrity recover from that?
Except, with time, the online frenzy surrounding the Drake and Lamar feud reads more like a mass-psychosis event than a cultural reckoning. The music, oddly enough, often seemed secondary to the certainty of everyone discussing it. “Not Like Us” was a veritable hit, absolutely. But its cultural dominance became bound up in a widespread vilification of Drake that curdled online, where the most damning interpretation of anything could quickly become the accepted one. For a while, even putting on a Drake song could feel like something you had to explain, as if listening amounted to taking a position on the allegations.
That this all happened in 2024 is meaningful. This was right in the peak of Elon Musk’s reconstruction of Twitter, privileging rage bait and engagement tactics that helped misinformation disseminate like fact. It was also the beginning of AI tools becoming sophisticated enough to produce convincing-sounding tracks. Even before Drake released his first response, “Push Ups,” AI-generated response tracks were circulating across social media. And so, in many ways, the well of public opinion was already poisoned.
Listeners’ recent embrace of Drake feels settled in a broader cultural shift brewing since 2024. The beef, in hindsight, feels like a dying vestige of whatever people want to call “Woke 1.0”: a particular faith that exposing the right person could amount to a cultural transformation. For a moment, defeating Drake seemed to promise something about the future of hip-hop, about who would belong in it and what it would tolerate.
There were obvious holes in the argument, namely who exactly these arbiters of culture were and why they were uniquely qualified to speak for the entirety of Black people, questions that Drake pokes at on “Ran to Atlanta” from Iceman. Still, these were never even supposed to be binding philosophical truths in the first place. To hear levelheaded commentators discuss it, this was all simply entertainment — two of the genre’s greats duking it out. Even one of the beef’s catalysts, Metro Boomin, echoed the sentiment, lamenting how online fans had turned the battle into something sinister. Hell, even Jay-Z said something similar before himself tossing a few jabs at Drizzy in a freestyle at the Roots Picnic this year. But the artists themselves supplied the allegations. The ability to raise those stakes and then retreat into “simply entertainment” was part of the dynamic, too.
Even so, how it all devolved into a pseudocultural reckoning says more about the environment fans exist in today than it does about either Drake or Lamar. In the years around the beef, shocking revelations about Diddy as well as the global elite’s ties to Jeffrey Epstein have become folded into the background, alongside a sense that accountability remains selective. This atmosphere of collective powerlessness offers one explanation for the conspiratorial thinking at the heart of Lamar versus Drake. A frustration with an increasingly degraded world and dwindling resources to change it means outrage can mobilize an enormous number of people very quickly, with little holding them together once the moment passes.
The language of exploitation and cultural extraction gave the battle a purpose that seemed to extend well beyond either rapper. But even if you took the least charitable opinion imaginable of our Canadian hitmaker, what was supposed to happen after Drake was defeated? The industry whose supposed wickedness Drake allegedly embodied carried on selling the spectacle itself.
What everyone was caught up in was an appetite with a longer history than the social media platforms now feeding it. Lance Oppenheim’s new film, Primetime, returns to Chris Hansen and To Catch a Predator, a television format that made public humiliation feel like a public service. The connection is in the experience offered to the audience. The viewer could enjoy the confrontation with the reassuring sense that watching served some larger good. Never mind if anything that was unfolding on screen amounted to justice.
In the historian Anton Jäger’s book-length essay Hyperpolitics, published earlier this year in English, he describes how the past decade’s surge of political feeling has coincided with a continuing withdrawal from communal life. More isolated digital environments can fuel extraordinary mobilization without the actual community organizations that might turn it into something tangible. Negating Drake, then, became a gesture in itself. A means of signaling a broader dissatisfaction with the direction of hip-hop culture. Where the problems extend to technology and the demoralizing margins of streaming music, for a while it felt good for people to just wrap it all up in one word: Drake.
But on Iceman, it’s hard to take the idea of Drake as an evil force within hip-hop very seriously, even as he himself makes an effort to lean into the role of the villain. Drake’s music is most potent when it’s aimed at the masses, even if he swears his nice-guy days are over. This is the Degrassi kid turned global superstar rivaling Taylor Swift, after all.
Now, with Fear of Missing Out, Drake’s cryptically announced project slated for release this week, we’ve entered a second kind of Drake Renaissance. However delusional it seems, there was a moment when it felt somehow wrong to play Drake. His return to the top of the charts suggests a good deal of people were eager to get back to listening.