Bob Dylan and Willie Nelson turned the Hollywood Bowl into a paradise for America and the countryside on Friday night, two legends brought the Outlaw Festival back to the legendary venue for the second consecutive year.

Dylan continued to move on as she settled down at dusk, the stage lit up like a black rodeo, revealing Dylan’s signature piano. He and his band - dressed in black like the host of the sensation, driving a shaky "things changed."

The stage setting is simple: the image of the tranquil mountain lake background resembles fancy water bottle labels, blending with the surrounding Hollywood hills, and crowds filled with cowboy hats and rhinestones.

Opening for Dylan and Nelson on Friday night are Bluegrass stars Sierra Hull and Billy Strings, while the upcoming Outlaw Fest 2025 Tour Stiers will spin in behaviors like Sheryl Crow, Wilco, Wilco, Lucinda Williams and Nathaniel Rateliff. Illegal lineups in previous years include Neil Young, Brandy Carlisle and Chris Stapleton.

Dylan was still confident, quirks and all at 83. His piano is unusually loudly mixed together, emphasizing rhythmic drives and occasional missed notes. It was a forgiving audience, many of them were probably teenagers when Dylan released his first album.

Dylan's scene is the most unpredictable. Rough and noisy way Visit the material, take out deep cuts, first covers and a completely reimagined beloved song. To the biggest fans, it might feel like a replay tonight - almost the same as he was in Chula Vista the night before - but for most people it's refreshing, especially for young attendees, who caught up with him for the first time since last year A completely unknown But it wasn't realizing that Dylan changed his live voice from the past few decades.

Tracks like "Simple Twisting of Fate", "The Desolate Journey" and "To Ramona" are scattered grooves and Dylan's Honky-Tonk piano reshapes. If Dylan could make one of his songs sound like Sade, then “Along the Watchtower” has always dared to say this—a sentence the writer never thought of writing. "Willie McTell" wears a terrible strait combination. Even "Under the Red Sky", the title track for one of Dylan's smaller albums, which got rid of the gloss of the early 90s and was allowed to breathe and sounded particularly spacious and beautiful.

Other Dylan gems ("Forgetful Heart", "Love Sive Sive", "Roman Roman Kings") keep their original recordings while he does a new cover like George "Wild Child" Butler's "Ax Ax and Wind", Charlie Rich's "I Will Go All in," and share your love by Alfred Braggs and Dead dead dead Malrone.

He said in a typical Dylan way, except for one interesting moment, asking the audience what they were eating, what he was talking about. In the first few songs, the Bowl's monitor was consistent, as if Dylan didn't want to be seen. The cheers to the audience as they played a few songs, they showed only a large shot, still keeping the forever hidden person.

The crowd roared every time Dylan picked up the harmonica. The biggest applause was "Don't think twice before you act, it's okay."

If Dylan was a humorous missionary on Friday, Nelson would be a bonfire. At 92, he is still the typical American of our real life vultures. It's hard to argue with after seeing him live in the tenth year of his most beloved festival of illegal music.

Known as "Willie Nelson & Family", the stage is illuminated with red and orange lights, a huge American flag hanging behind them. Nelson sits down by the trigger (his trustworthy, long-wearing acoustic guitar) and is surrounded by his literal family. He opened with the "Whiskey River" and the bowl burst. Nelson did not draw any skills, but was just a classic work after the classic, expressing it with joy and clarity.

His performances include the blows he wrote or popular with friends: "Merle Haggard", "Waylon Jennings" and "Help Me and Make Me Overnight" (Kris Kristofferson). Unlike Dylan, Nelson occasionally chats with the crowd, providing an introduction to old friends’ songs and memories.

Standouts included a rollicking “Bloody Mary Morning” (with the audience cheering for its LA name-drop), a crowd singalong to “Mammas Don't Let Your Babies Grow Up to Be Cowboys,” and tender and funny renditions of “(Die When I'm High) Halfway to Heaven” and “Everything is Bullshit,” both written by Nelson's youngest son Micah, who performs under the moniker Particle Kid. The latter is particularly interesting, with the young Nelson almost impressed by his father’s voice, injecting the cat’s voice into the whole choir, while Nelson declares “nonsense” throughout the chorus – like your grandfather, he knows he’s in trouble when he talks.

From 10 p.m., Nelson never seemed tired. He smiled, nodded, singing like he still means every word. At the end of the evening, most Outlaw Fest crew members returned to the stage together (except Dylan, perhaps already asleep), performed with Nelson, ending the night, covering up the eternal "Will you not stop?" and "I'll fly away."

Nelson then said goodbye and played his stage in Hank Williams' I See The Light.