Bob Dylan 1978: An Insider’s Look at the Epic European Tour

The summer of Bob Dylan 1978 marked one of the most ambitious and demanding periods in the legendary musician’s touring career. Fresh off the Budokan shows earlier that year and with the Street-Legal album just released, Dylan embarked on a massive European tour. Characterized by wildly rearranged versions of his hits and the introduction of new material, the tour featured his largest band to date and saw him playing to some of the biggest audiences of his life, including a monumental concert at Blackbushe attended by potentially a quarter-million people and another at Hitler’s former rally grounds in Nuremberg. Supporting such a colossal undertaking required an equally substantial crew. Marshall Bissett, a seasoned lighting and setup professional who had toured with giants like Queen and Neil Diamond, was part of that essential team. Now Chairman of the Parnelli Awards for the live event industry, Bissett shares his unique perspective on life on the road—and rail—with Bob Dylan during that pivotal year.

Setting the Stage: The 1978 European Landscape

Bissett found himself drawn into the Dylan orbit through his London-based lighting company, TFA, which handled the production for the European leg. “I was really close friends with Patrick Stansfield, who was Dylan’s production manager,” Bissett explains. “He did the Budokan shows and the whole American tour. I was his counterpart in Europe. I did a lot of the tour coordination on the technical side from our London office.”

Having worked with Stansfield on Neil Diamond’s tour the previous year, they reprised a logistical masterstroke: touring by private train. “What Patrick figured out on Neil Diamond was that the best way to travel, the crew and the band and the artist, was by train,” Bissett recalls. “So on Neil Diamond, for the first time ever, we hired our own train. Not the engine, but the carriages.”

Life on the Rails: A Unique Touring Experience

The Bob Dylan 1978 European tour adopted this railway approach. After kicking off with acclaimed shows at London’s Earl’s Court (“I think the second night at Earl’s Court was probably one of the best shows I’ve ever seen,” notes Bissett), the entourage moved to Paris to board their bespoke train. “We had the French presidential car… all beautiful walnut paneling, appointed for the French president. That was Bob’s quarters,” Bissett describes. Following were cars for the band and crew, plus baggage. This mobile base would attach to local trains at each stop.

Marshall Bissett pictured during the Bob Dylan 1978 tour

This mode of travel offered distinct advantages. “What worked out really well is that in Europe, typically, the best hotel in town is right down by the railway station,” Bissett says. “So we scheduled it so that the band and crew were always staying right in the heart of downtown.” The primary logistical hurdle was unloading massive amounts of luggage during brief station stops, requiring a “little army of local helpers.” Compared to modern tours (“Where does the crew stay on these American tours? …We stay in the La Quinta chain… ‘just behind the Denny’s’,” Bissett jokes, referencing a conversation with tour manager Al Santos), the train fostered a relaxed, communal atmosphere. “There was no pressure, no airports, no long drives. It was very, very relaxed. So everyone got to know each other pretty well.”

Bob Dylan relaxing in a dining car during the 1978 European train tour

Behind the Scenes with Dylan: Sociable Yet Enigmatic

Contrary to his often-reclusive image, Dylan was quite present during the train journeys. “We had our own dining car. And he was very sociable,” Bissett remembers. “He didn’t stay much in his own compartment. He would wander around, he’d talk to the band members, then he’d come back and sit down with us… The thing that he always wanted to know from the London-based crew was where to go hang out in London after the show. ‘Where can I go hear some reggae music? Where can I go hear ska?'” This interest reportedly led Dylan to explore South London’s music scene, even catching a reggae band called Merger, whom he subsequently invited to open the Blackbushe show.

Bob Dylan backstage with musician Link Wray in London during the 1978 tour period

Despite his sociability, Dylan maintained an air of mystery. Bissett notes Dylan’s habit of constantly writing: “You would see him hunched over, writing all the time with these tiny little fine pens… on tiny little bits of paper, microscopic almost. Then he would stuff these bits of paper into his pocket… write on the back of cigarette packets and the back of tickets.” Interactions could be disarming yet guarded. Bissett recounts asking Dylan why he sometimes skipped “Simple Twist of Fate.” Dylan responded by repeatedly questioning Bissett and Stansfield if they really liked the song, ending with a simple “Wow, you really like that? Wow. Wow.” Bissett reflects, “You get this opportunity to spend all this free time with one of your idols… and you don’t get to ask him questions. He gets to ask you questions… there’s this little barrier where he doesn’t invite questions.” Nevertheless, Dylan played the song more consistently afterward.

The Music and Memorable Moments of the 1978 Tour

Bissett, along with many crew members who were avid Dylan fans, paid close attention to the performances. “We watched every show, which is very unusual,” he says. “We started to notice all the little nuances of the way that he would change lyrics at will.” While the setlist was relatively stable for Dylan, the lyrical improvisations kept things fresh. “He would do ‘Tangled Up in Blue’ in that very famous version with the sax player. That was so moving. He would just change lyrics around a little bit every night.”

Bob Dylan performing live on stage during his 1978 tour

Bissett praises Dylan’s musicality during this period: “Musically, he was really on his game.” He acknowledges the challenge for the band, particularly the drummer, given Dylan’s impeccable yet sometimes unpredictable timing. He also recalls guitarist Billy Cross’s elation after trading licks with Eric Clapton, who joined some shows, despite Clapton not being at his peak form due to struggles with alcoholism.

A memorable moment involved Dylan’s artistic input at a Paris venue nicknamed “The Slaughterhouse.” Impressed by shafts of sunlight piercing holes in the roof, Dylan declared, “Patrick, that’s the look I want in the show.” Stansfield’s diplomatic response was, “Yeah, yeah, Bob, we’ll work on that,” highlighting the delicate art of managing an artist’s spontaneous inspirations.

The Scale of Blackbushe and Tour Logistics

The tour culminated in the massive Blackbushe Airfield show. “No one will ever know how many people were at Blackbushe… I don’t think. The crowd estimates are so varied. I’ve seen anything from 200,000 to half a million,” Bissett states. Promoter Harvey Goldsmith managed the unprecedented event successfully. Bissett vividly remembers the backstage scene: “Harvey hired local bank employees… you could get a glimpse inside there and see… tables all set up with these mainly females just counting English bank notes as fast as they possibly can… Then outside, there were these heavy guys in leather jackets with black plastic garbage bags just full of money.”

Wide shot of the immense crowd gathered for Bob Dylan's Blackbushe concert in 1978

Bissett’s daily role involved supervising the lighting setup, coordinating local crews, and ensuring the technical aspects were ready for the band’s arrival and soundcheck. His recollections paint a picture of a demanding yet uniquely rewarding tour, marked by innovative logistics, massive scale, and close proximity to a musical icon during a transformative period.

Reflecting on Dylan’s 1978 Milestone

Marshall Bissett’s experiences offer a fascinating ground-level view of the Bob Dylan 1978 European tour. From the unique camaraderie fostered by train travel to witnessing Dylan’s creative process and nocturnal explorations, his account adds rich detail to this significant chapter in Dylan’s career. The tour showcased Dylan’s willingness to reinvent his sound with a large ensemble and connect with audiences on an unprecedented scale, balancing large, historic performances like Blackbushe with intimate moments of songwriting and interaction. Bissett’s perspective underscores the immense logistical effort required while highlighting the magnetic, albeit enigmatic, presence of Dylan himself, navigating one of his busiest and most musically adventurous years. His insights remind us of the complex machinery and dedicated individuals behind legendary musical moments. You can find Marshall Bissett presiding over the live event industry’s recognition at ParnelliAwards.com.