BUFFALO, NEW YORK
Sunday, November 22, 2009

Take Your Best Shot

By Jon Phillips

Most diehard fans in Buffalo tonight hoped for two things. First, we longed for a special, emotional show because this could be the last performance of Bruce Springsteen & the E Street Band. And second, we didn't want it to be the last performance of Bruce Springsteen & the E Street Band. It feels like we got both wishes.

First and most important, a closer reading of the tea leaves as to the future of the band. During the final song of the night, "Rocking All Over the World," Bruce vamped as he sang his way back into the chorus, "So we're gonna say goodbye, but just for a little while... a very little while... because... because... I like it, I like it, I like it, I like it, I li-li-like it." It was a sentiment felt earlier in the night when he chose the first request, "(I Don't Want to) Hang Up My Rock and Roll Shoes," proclaiming the song to be in the spirit of the evening. He sang it as if he were making a promise, rather than regretting some looming fate.

At the same time, there were emotional touches during the night that honored Bruce and the band's shared history. Bruce called an audible to play "Tenth Avenue Freeze-out" because he wanted to "tell the story of the band." And the mid-song tall tale thankfully returned to "Growin' Up" as Bruce recounted the northeaster that blew through Asbury Park, ripped a rock club door off its hinges, and left Bruce and Steve looking up to see the figure of Clarence Clemons filling the doorway. You can't say no when the Big Man booms, "I wanna play with you." And so, as Bruce said, they "got into a Cadillac at the end of the night, drove out to the outskirts of town... we got very sleepy and we fell into this long... long... long... long... long dream. And when we woke up, we were in fuckin' Buffalo, New York." And that's how you sum up almost 40 years burning down the road.

On nights like tonight, I look to Clarence to gauge the band's emotions. I remember his eyes watering during "Blood Brothers" at the final Shea show in 2003 (and later he said he really thought that that night was the end). But tonight the Big Man was all smiles--extra smiles even, catching Bruce's eye more often--and suddenly his cheering Bruce on during, say, "Long Walk Home" felt more, well, real.

Finally, can you have a final E Street Band show without Patti? Without "Badlands," "Jungleland," "Backstreets"? No you can't. QED this wasn't the last one.

But it is the end of two years of touring, and I think those two years can be divided into three separate efforts. First the Magic tour leg, filled with songs from that record and the country's pre-election fervor. Then, let's borrow a term from Dave Marsh, there was the "Victory Lap" leg. Working on a Dream didn't dominate, the signs came out, and efforts to stump the band were futile. Then there's the "Wrecking Ball" leg, marked by full albums that highlighted the band's musicianship and versatility and let even the die-hards hear those songs in a fresh context. On these nights, "Backstreets" or "Racing in the Street" weren't songs chosen to satiate the fans' needs for an epic ... they were parts of landmark bodies of work.

And so to finish up the "Wrecking Ball" leg, Buffalo had it all: a complete album (Greetings, for the first and last time), the signs (go "Boom, Boom"!), the kids singing (off-key, but hey, she committed!), the dancers angling to get onstage (the path to success tonight: "Can I Dance with Steve?"), the crowd surfing during "Hungry Heart," and "Higher and Higher" to (nominally) finish. And "Wrecking Ball" to open. It ain't just about a football field, you know. You got the guts to tell Bruce and the band it's over? You got the balls?

No. No you don't.

Take your wrecking ball back home, son.

A Celebration in Buffalo

By Ray Phillips

I wasn't quite sure what to expect for a the setlist at this end-of-the-tour show (and the end of what else?). Of course Greetings was a given, but which direction would Bruce choose to take the show? Well, it certainly wasn't to the sentimental side of the spectrum. No "Blood Brothers," no "Last Carnival," no implications of finality. The theme of this show was more like, "its been one wonderful ride, and maybe the ride ain't over!" A 34-song, three-and-a-half-hour celebration of the E Street Band, and we had one hell of a party.

After a now-standard four-song opener (although "The Ties That Bind" was a nice insert) Bruce went into his first album, Greetings from Asbury Park, N.J. I will admit to not listening to this album very much, but live, it was terrific. "Blinded by the Light" was an exciting start, but a memorable "Growin' Up" will be with me for a long time, the accompanying Clarence/Bruce meeting story only enhancing the enjoyment. "Mary Queen of Arkansas," while far from a favorite, was special because of the great harmonica accompaniment by Nils.

The real surprises, no pun intended, were "Surprise, Surprise" in honor of Steve's birthday (including cake and candles) following the first-ever performance of "Restless Nights" from the Tracks box. This was "Bruce's gift" to Steve after many years of requests from his old friend.

And then the show got rolling. Some Christmas favorites followed by a nod to the great Chuck Willis with "Hang Up My Rock and Roll Shoes" and to the legendary John Lee Hooker with "Boom Boom." And once again a performance of "Long Walk Home" that gave me chills.

The encore opened with a fitting rarity from Magic, "I'll Work For Your Love," peaked with "Higher and Higher," and closed, very appropriately, with the Fogerty classic "Rocking All Over the World."

I think that Bruce handled the show perfectly, celebrating the history of the band without succumbing to schmaltz. I will admit to a bit of melancholy at the end of the show. I have enjoyed a bunch of shows with my boys and certainly wonder what is next. But maybe I'll take comfort in Bruce's words: "See you in a while... a very little while." Let's hope so.

What Fun is a Funeral?

By Kevin Anderson

In 1978, when I was 14 years old, I turned down an opportunity to see Bruce play a mid-sized arena in Louisville, Kentucky. I loved the music, even at 14. Tickets were still available, even on the day of the show. But I couldn't drive, I didn't have a friend who wanted to go to the show, and my parents wouldn't allow me to go by myself.

My mom, in her infinite kindness, said she would go with me if I wanted. She didn't even like any kind of music, much less rock 'n' roll. Of course, I turned her down because I thought I'd be the only person there accompanied by a parent; I was insecure and afraid of being embarrassed. (Remember, this was in 1978, way before kids routinely got up on stage to dance or sing duets with Bruce.)

My regret was immediate. And it only increased over time. My mom died several years ago, and we never did go to a show together. In various ways, I've been trying to make up for my poor 14-year-old judgment ever since.

For example, a few years later, in 1981, I went to the final show of the River tour in Cincinnati. I still didn't have anyone to go with. But this time, I lied to both of my parents and promised I was going with a friend who was also a Springsteen fan. Instead, new drivers license in my 16-year-old hand, I drove the two hours to Cincy and back (at two in the morning) by myself. It was a great show. Bruce opened with the John Fogerty song "Rocking All Over the World."

So when tickets for the 2009 Buffalo show went on sale a while back, I didn't hesitate. Even then, it seemed possible that Buffalo (fucking Buffalo?) could be the final show for the E Street Band. And what Bruce fan wouldn't want that -- the Last Show, the Last Chance Power Drive -- notched on his or her belt? I wasn't going to pass on this opportunity and regret it later on.

But as the show approached, Bruce was sending mixed signals about the future of the E Street Band. Was this the last show for the band or simply the last show of another tour?

My personal challenge last night was to try to put aside the potential historical significance of the show and to make an effort to enjoy it on its own merits. There was plenty to enjoy. My favorite moments included: Bruce's grand gesture of dedicating the "one and only" live performance of Greetings from Asbury Park, N.J. to Mike Appel; an older Bruce telling a "Growin' Up" story; Bruce and Clarence doing the Born to Run pose; a rare performance of the River B-side "Restless Nights"; Bruce and Steve blowing out Steve's birthday cake; and an inspired and relevant cover, "(I Don't Want to) Hang Up My Rock and Roll Shoes."

Even last night, the signals remained mixed. Instead of E Street Band closure, we got a love fest as the show moved towards its conclusion. Bruce singing "I'll Work for Your Love." Dozens of fans in the pit holding up small signs that said "Thank You," with Bruce responding in kind. Bruce prominently displaying a sign, stolen from some fans in the cheap seats, bearing the title of a made-up song that could have been penned by collaborators Keith Richards and the ghost of John Lennon: "It's Only Rock and Roll, But it Feels Like Love."

Instead of ending the show with "If I Should Fall Behind," "Blood Brothers" or something else that would have more clearly signaled the end of the band, Bruce ended with an opener, "Rockin All Over the World." "Giddy up, giddy up, here we go." I was 16 again, and recklessly independent, at least for a moment.

"I'll be damned if I'm going to preside over a funeral for my band; I'd rather rock it out one more time," Bruce seemed to be saying. Point taken. What fun is a funeral? And I realized then that it was enough, or at least it should be enough, for the band to simply play a killer show and for me to enjoy the moment, regardless of how many more miles the band has to go before it sleeps. Shame on me for going into tonight with different expectations. I'm not 14 anymore. But I'm still learning.

BALTIMORE, MARYLAND
Friday, November 20, 2009

Spirits Raised in Baltimore

By Ray Phillips

I have been bummed out for the last month. I was so looking forward to the St. Louis / Kansas City double, but that trip ended on such an unfortunate note when the Kansas City show was cancelled. That was followed by two terrific shows at Madison Square Garden—which I was unable to attend. The Baltimore show came along just in time to pull me out of the doldrums. Simply put, this second-to-last night of the tour was an energetic, feel-good show which had everything necessary to raise my spirits.

Hearing the Born to Run album from start to finish was again a highlight of the show for me. It was great to be part of an attentive Baltimore audience showing "Meeting Across the River" the respect for that it deserves—no rush to the bathroom here. I mentioned to Jon that this could well be the last time we would hear "Jungleland" in a setting like this. And Clarence nailed it. In fact, Clarence was on his game the whole night, as was Mighty Max. I'm not sure I have ever seen Max beat the skins so enthusiastically. And a shout-out to Steve, who seemed to be having more fun than he has in a while.

Two of my favorites showed up: a magnificent performance of "Long Walk Home" with Bruce feeding off Steve at the end, as well as the always appreciated "Land of Hope and Dreams" with Max notably shining.

But for me, the finest moment came late in the game. As a major Jackie Wilson fan, "Higher and Higher" was always at the top of my list. And Bruce does that great R&B tune major justice. Getting closer to the crowd by taking his soul stylings to the small platform at the back of the pit, it was just terrific. And a true encore all around, opening with "Ramrod" and wrapping up with a bonus "Glory Days" after the Jackie Wilson tune to close out an almost three-and-a-half-hour show!

NASHVILLE, TENNESSEE
Wednesday, November 18, 2009

Legendary? Yes, Legendary.

By Alan Chitlik

The Working on a Dream tour fits snugly into the 2009 calendar year. But when it's over, I'll reflect upon it as two tours.

In the first, Bruce was trying to promote the new album. He ventured to the Super Bowl for the first time, putting his tour tickets on sale the next day. He gave prominence to a few of the Working on a Dream songs, most notably a long, operatic spot for "Outlaw Pete."

However, that's not the show Bruce put on Wednesday night in Nashville. Now, the tour's focus seems to have evolved to confirming the band's spot in the world's rock 'n' roll hierarchy. It feels like he's trying to live up to those hyperbolic claims he makes each night about the band's "legendary" status.

The centerpiece of this evolution is the decision to play some of their best albums start to finish. Historically, Bruce has structured shows to play out like a roller coaster. Shows build to peaks and occasionally slow down, so that you can recover a bit. But putting the eight Born to Run songs in the middle of a show changes all of that. There is no down time. No song to take off. It's eight great rock 'n' roll songs, one after the other. And attention will be paid.

So it was in Nashville. Bruce introduced the album saying, "This was an important record for us." The first two albums in their three-album deal had "stiffed," he said. "This was our last shot." Thus began "Thunder Road."

After all these years, Born to Run remains an incredible album. Start to finish, tonight's performance was captivating and spellbinding. If you like epic ballads, you're served up "Backstreets" and "Jungleland." During "Backstreets," Bruce wailed "to the end" so poignantly that I thought I was listening to some of those great 1978 performances. A welcome addition to so many songs, Curt Ramm on trumpet was nowhere better used than on "Meeting Across the River." After "Jungleland," Bruce took a bow with the musicians on the record and thanked the late Danny Federici as well.

And then he started into "Waiting on a Sunny Day." I actually like the song. But to me, this transition feels a bit like eating a gourmet meal at a 5-star restaurant... and then the waiter brings you a serving of Pop Tarts. In a flavor that you like. You'll probably still enjoy them. But in the end, it's still mainly sugar.

Bruce and the band then followed up with 14 more. Many of them were familiar, but every song was performed with a passion (bordering on desperation) reminiscent of the 1970s E Street Band, which NEEDED Born to Run to be a success. During "Bobby Jean," Bruce points to different sections of the crowd, exhorting them to stand up. He gets the whole arena to wave their arms back and forth. Sure, they are classic rock 'n' roll moves, but it's a signal that he is in the moment and he cares.

Bruce has been gleeful about his claims that "You can't stump THIS band," as the tour has gone on. He's delighted in the band proving their metal by playing requests they've never performed or rehearsed. In Nashville, they added a terrific cover of "Ring of Fire" to that list, wonderfully punctuated with Curt Ramm's trumpet, ending it with Bruce saying, "That's for Johnny."

Take note, Bono, Mick, and anyone else who thinks they are top dog. Though a hiatus is on the horizon, the legendary E Street band is bringing it every night and closing this tour as strong as ever.

MILWAUKEE, WISCONSIN
Sunday, November 15, 2009

Getting Loose In Milwaukee

By John J. Kelly

Just four shows before "The End" -- of, if nothing else, a nearly non-stop two-year Magic/Dream tour -- Bruce Springsteen, the 60-year-old age-defying, crowd-surfing, momentarily geographically challenged in Detroit Bruce Springsteen, walked on stage in Milwaukee and delivered a passionate, in-the-moment, awe-inspiring performance that nearly ripped the roof off the Bradley Center.

After a gaffe-obsessed news media from Michigan to Morocco grabbed onto Springsteen's now-infamous "Detroit, Ohio" brain cramp with a blizzard of coverage, Springsteen made everybody quite sure he knew where he was by opening the show with a song about a ride through the "Wisconsin night," setting off a high-octane performance that drove an equally pumped and primed Milwaukee audience into that place where the highway is always alive.

In addition to the wild yelp of the start, the band again showcased Born to Run with an urgency and passion that matched the album's perfection. Bruce delved deeper and more dramatically into "Backstreets" and intensified his method acting on the gorgeous "Meeting Across the River"/"Jungleland" combo. Though the Big Man faltered a bit during his "Jungleland" solo, the band more than made up for it on virtually every other note, leaving this fan literally breathless. When the BTR players (and Danny there in spirit, of course) took their bows it was pure exaltation inside the Bradley Center.

But the best was still to come. It began when a Santa hat was thrown onstage and though Springsteen at first tried to resist ("it's too soon...") he quickly relented, treating us to a pre-Thanksgiving, rockin' and rollickin' "Santa Claus is Comin' to Town." That was just the beginning of a bounty of delicious requests, including the always tasty "Loose Ends," the rarely played Cajun-flavored gem, "Jole Blon," and a savory "Growin' Up" that was truly out of this world.

After almost everyone in the house, including the band, thought he was done with requests, Bruce spotted a touching sign with a newborn's photo and a plea from the proud papa in the pit. Despite some hesitation by band members, Bruce was on a mission and led the band, tentative and unsure, through an emotional and personal "Living Proof." But he wasn't done yet. He also remarked that he had seen a few requests for "Kitty" to come out and play, so he launched into a playful version that allowed Curt, Charlie, Roy and, finally, Bruce himself, to shine.

It was a night made truly special by Bruce Springsteen's willingness to let loose, be in the moment and enjoy the one of the last few shows of the tour. Bruce proved to Milwaukee fans he could laugh at himself with us laughing right along. After committing the cardinal sin in Detroit of forgetting where he was performing, a lapse that he laughingly referred to as "every front man's nightmare," Bruce Springsteen came back in his very next performance in Milwaukee with a barn-burner of a show that many fans including myself will long remember as a dream night of rock 'n' roll.

AUBURN HILLS, MICHIGAN
Friday, November 13, 2009

Beyond the Palace

By Wes Castleman

Just over 17 years ago I made the drive from my hometown to Auburn Hills, Michigan to see Bruce Springsteen perform for the first time. Friday I made the same drive again, this time to see one of the last performances of the Working on a Dream tour. In those 17 years I've seen hundreds and hundreds of shows, and I've formed friendships with other fans that will last until the day I die.

While I was skeptical of the plan to perform complete albums on this leg of the tour, it seems as if presenting the songs in that format has brought new focus to them. Friday's Born to Run set was outstanding, with a passionate "Backstreets" the clear highlight.

Local flavor was well represented in the show, with sign requests bringing the first E Street Band performance of Bob Seger's "Ramblin' Gamblin' Man" and the always fun "Detroit Medley." I'm continually amazed at the band's ability to play a song on a moment's notice, with no practice, and do it so well most people would believe they play it every night.

Framing a blistering "Born in the U.S.A." between "Hard Times" and "American Land," just days after Veterans Day was an inspired choice, the three songs together to open the encore brought the most pointed message of the night.

The biggest shock of the night? Steven singing the second verse of "Rosalita" after Bruce called him to the mic and ran off to check something at the side of the stage. "Higher and Higher," now seemingly a setlist staple, sent me on the road home with a smile, and anticipating my next show as the tour winds down.

The Palace may not have the history or the aura of The Spectrum or Madison Square Garden, but for me it will always hold a special place as the building where I first got on board this train and started rolling down these tracks.

CLEVELAND, OHIO
Tuesday, November 10, 2009

Feelin' Outtasite

By David Levine

The approach to the Quicken Loans Arena in Cleveland passes by two local icons: flaming smokestacks in the valley where steel is (sometimes) produced, and the giant LeBron James billboard. With tonight's legendary performance -- along with an exhibit drawing thousands weekly at the Rock and Roll Hall of Fame -- Bruce Springsteen can also be counted among the Cleveland icons.

The E Street Band started with power on "Wrecking Ball" and built throughout a show that left everything on the stage. The Cleveland fans were up from the start, with Bruce declaring "Tonight Cleveland is going down in flames!" While the Born to Run album set felt like a thank you to the fans, many long-time devotees described this show as one of the best because of its combination of energy and intimacy. Bruce circled the pit numerous times and once again let the fans surf him back up to the stage during "Hungry Heart." Later, accompanied by Curt Ramm on a muted horn, Bruce and "Meeting Across the River" turned the 15,000-plus arena into an intimate jazz lounge.

The request mini-set was a real highlight, with Bruce jumping on the piano for a soulful rendering of "Raise Your Hand." While the entire setlist avoided any songs that might break up the energy building in the arena, the requests kept the frenzy building with "Red Headed Woman," played for the first time since April, followed by "Pink Cadillac."

Though most of the crowd was old enough to legitimately claim that they attended the E Street Band's legendary Agora show in 1978, the future generation of Springsteen fans was well represented. Three young girls in Springsteen concert tees were brought on stage to provide the chorus for "Waitin' on a Sunny Day," while a seven-year-old boy on his father's shoulders in the center pit had the Boss' constant attention. All fans left the show electrified and agreeing with the introduction of the band by Kid Leo at the Agora in 1978: "Round for round, pound for pound, there ain't no finer band around -- Bruce Springsteen and the E Street Band!"

NEW YORK, NEW YORK
Sunday, November 8, 2009

Spotlight on The River

By Jason Franks

The River is a perfect mix of ballads, fun songs, and all-out rockers. Tonight at Madison Square Garden, all 20 of these songs were put on display, in sequence, for the first time in Bruce's career. To say that this night was "a real treat" is a massive understatement. First things first, the New York City version of "Wrecking Ball" opened the show before a wildly enthusiastic crowd. In fact, this was one of the best crowds in recent memory. It seemed as though tonight's audience fully understood what this show meant to both Bruce and themselves. This was not just another show... it was one for the ages.

The album set came out early tonight, beginning in slot number two. One of the highlights of the first part of the album was a truly remarkable "Sherry Darling." The party noises were out in full force on this "fraternity rock" juggernaut, and this is definitely a song that Bruce and the E Street Band enjoy playing. "Crush on You," in a rare appearance, really had the New York crowd going. The chorus portions were belted out so loudly that, at times, it seemed as if every member of the audience was singing in unison.

Of course, tonight's centerpiece album had some truly special moments for the longtime fans. "Stolen Car" and "Wreck on the Highway," though rarely played, were stand-outs with their lyrics pouring into the hearts of all in attendance. These songs just have so much meaning for so many of Bruce's die-hard fans. Similarly, "Fade Away" and "Drive All Night" were absolutely stunning in their full band arrangements. Both songs sent chills through the Garden. And what about "Cadillac Ranch"? Well, this one set the place on fire. People were jumping way up in the 400 level!

Once the album portion was completed (yes, there was more), a great request brought "Atlantic City" to the forefront. Max absolutely killed on this one, with Little Steven doing his part on the mandolin. The band brought the Garden to a whole new level with main set closer "Seven Nights to Rock." It's difficult to remember any audience that reacted with such exuberance to this song. Bruce looked to be having an all-out ball as he ripped through the fast-paced tune.

Tonight's encore continued with that "special" theme. "Sweet Soul Music" led things off with spotlights on Clarence, Steve, and Bruce himself. Yet again, the crowd brought their A-game for this one as they were definitely excited to hear this classic cover after a lengthy absence. Bruce then dug deep with one more request and played Elvis Presley's "Can't Help Falling in Love." Very fitting, as Bruce played this one a number of times on The River tour, but few times since then. "Higher and Higher" made another appearance in the closing spot, leaving the crowd jumping after another three hour marathon.

This was a show with very high expectations. Those expectations were met with a performance that exceeded them on every level. Whether it was the crowd, the Garden, being in New York City, or the playing of The River album, this concert was one that those in attendance will talk about for a long time. It was one that will go down as yet another historic night in the history of the E Street Nation.

Into the River we Dive

By Caryn Rose

Like you, I have at this point listened to The River an untold amount of times. In high school, for a very long time, I used to fall asleep to side two. In other words, this record is not new to me. But I will tell you that right now, I feel like I haven't truly felt or understood the brilliance of the narrative and lyrical arc of this record until Sunday night at Madison Square Garden, seeing and hearing it unfold start to finish in front of me.

After "Wrecking Ball" to get the band and crowd warmed up, it was clear that Bruce was ready to get down to business. He explained that The River was "a gateway to a lot of my future writing," and he noted that it was recorded during hard times, that the characters on the record shared a lot "like so many people today." He noted that several of the songs later led to whole albums; and that some of the characters had been there since Darkness and that he wanted to keep them with him.

With the weight of this intro behind him, the band plowed into side one and "Ties That Bind." "Ties" is still familiar ground; "Ties" into "Sherry" still familiar; "Jackson Cage" and "Two Hearts," we're still in known territory. But "Independence Day" is the first moment of weight, of something that we don't hear all the time, and it's freaking "Independence Day." There is never any way to deny its significance in the body of work.

"Hungry Heart" coming next -- complete with the now-mandatory run through the audience -- makes sense like it never has before. "Out in the Street" feels like an old friend. And call me shallow, call me lightweight, call me flighty, but the moment I had been waiting for almost more than anything else on the record was up next: "Crush on You." I have to say, the band nailed this one just as hard as any of the more significant moments on the record. It was sharp. It was tight. Bruce was dancing the frug in front of Stevie, who was right there with backing vocals. Why on earth this song has never been a regular part of the set is beyond me.

Madison Square Garden in its entirety has been on its feet for most of this. The crowd is having fun with this, and more importantly, the band is having fun with this. You can see it on Nils' face. You can see it in the way Roy is hitting the keyboard with authority. You can see it in how Garry is swaying back and forth. You can see it in Bruce's smile and in his hips as he shakes the maracas. It is important to me as a fan that this not be a chore for them.

A super-fun "You Can Look" takes us into "I Wanna Marry You," the next stop for those of us collecting punches in our club membership cards. This one was an absolute jewel, Bruce going over during the instrumental break at the end and slow dancing with his wife. It was a delightful, unexpected moment. "The River" was probably an unexpected highlight, as he manages to somehow find the place from which he can still sing that song with power and authenticity, no matter how many times before it has been in the setlist.

We now come to side three, where I have to reconsider my previous rating of "The River" and compare it to the heartwrenching hollow created with the performance of "Point Blank." Fans may wonder why stuff like that doesn't get into the setlist more often, but these are not lightweight rock 'n' roll songs here. There is depth. There is meaning. There are dark corners.

And then there is "Cadillac Ranch," which was hokey and bouncy precision guitar slinging-at-the-front-of-the stage and more USA-era in performance vibe than River tour, but no one cares. "I'm a Rocker" takes it up a notch, which is fine, because we are getting ready to slope downward again. "Fade Away" was right behind "Point Blank" for me in terms of the songs I wanted to hear tonight. In context. In place. Bruce isn't even breathing hard, shaking maracas and keeping time.

Long before this record was even announced, I had a discussion with some friends about what was the most depressing song in the Springsteen catalog. "Stolen Car" was my nomination for that role. "Stolen Car" is brutal. "Stolen Car" messes with my head. "Stolen Car" just squeezes the life out of your heart. It does tonight, too, even though I tell myself it won't.

Luckily, "Ramrod" is to the rescue, and while he works it and he shakes it and he plays the heck out of it, it isn't a marathon "Ramrod," and I am glad he is keeping it true to the context of the album. "The Price You Pay" garners a surprisingly strong audience reaction, and a remarkable number of people remain on their feet and at attention for "Drive All Night." I do not mock the shrieks from the members of my sex in this particular case; in fact, I am feeling my sisters at this moment. And then, "Wreck on the Highway" takes us out of the record and has me revising my previous vote on "Most Depressing Springsteen Song."

The hills, the valleys, the ups, the downs, the light and the shadows. You have never felt this record like this before, and you will probably never have this chance again. As highly as I hold this record in esteem, after tonight's performance, I question if I hold it highly enough.

NEW YORK, NEW YORK
Saturday, November 7, 2009

Sparks Fly at the Garden

By Paul Doughty

Last week's news that Bruce and the band would be premiering two more of their great albums in full this weekend at the Garden raised excitement and expectations to fever pitch levels. So did the first night -- including The Wild, The Innocent, start to finish -- live up to these anticipated levels for the 20,000-odd concert goers? Too right it did!

The band hit the stage at 8:35 and, as if to remind us we were going back in time tonight, launched into a wonderful, 10-minute version of "Thundercrack." Bruce introduced it as "an outtake from the album" and, obscure or not, the crowd loved it. It was to prove the beginning of a very special evening based on a terrific set list that took us "off piste" compared to many recent shows. Fewer songs, perhaps, but it hit the three-hour mark before Bruce, the E Street Band, the five-piece horn section, Richard Blackwell on congas, and Elvis Costello departed at 11:35 pm after an incredible version of "Higher and Higher" that never seemed it would end.

The sweet spot, of course, was the seven-song stretch in the middle, the complete performance of The Wild, the Innocent & the E Street Shuffle with a nice intro from Bruce about its conception all those years ago. Announcing, "For the first time ever!" and with his conductor's baton in hand, he turned to the five-man horn section and off we went with the "E Street Shuffle." The whole album was played absolutely perfectly, no winging it here, the band were as tight as a drum and playing at the top of their game. The horns were to the forefront during a superb "Kitty's Back," and Garry came forward with tuba for "Wild Billy." "Incident" was exquisite in its execution, and then after a ball-busting "Rosie," an eight-piece string section joined the stage for a truly sublime "New York City Serenade." Roy led this so well, and at the end of the song the crowd (magnificent all evening) brought down the house for an outstanding display of musicianship.

The show moved on, and though it had certainly peaked, there wasn't much of a drop-off. Hell, even the ten-year-old kid picked for "Sunny Day" was spot-on for his lines at center stage with Bruce, even adding a "take it, Big Man!" to Clarence as he was popped back into the pit .

Requests? Well I guess it just had to be "Does This Bus Stop at 82nd Street?," down the road at 33rd as we were -- a great version. And then, if you want an easy win after the Yankees' World Series triumph three days prior, what else but a rousing "Glory Days"? Fair to say this went down quite well tonight at the Garden!

Next up, a massively gripping and intense "Human Touch" with Bruce and Patti sharing the mic at center stage for the latter part of the track. It was an incredible part of the show, extremely powerful. The triple header of "Lonesome Day," "The Rising" and "Born to Run" brought the main set to a rousing finish, and then the band played on -- these days, what's the point of exiting and coming back on !

"Wrecking Ball" with Soozie to the front, outstanding and proof that the boss incredibly is still writing great music. What a great track this is. Finally, the Jackie WIlson classic "Higher and Higher" got another outing, but this time with the full force of the horn section back on stage, and Elvis Costello joining Bruce in the middle. It absolutely hit the spot -- a truly wonderful grand finale.

Bruce is right, the band is playing better than ever. They were all note perfect tonight. Difficult to see how Night Two can be any better than this... but knowing Bruce and the E Stree Band, it probably will be!

WASHINGTON, DC
Monday, November 2, 2009

Debbie Veltri, Where Are You Tonight?

By Bob Zimmerman

November 3, 1978; I'm half asleep in homeroom class when a handsome Italian girl barges into homeroom and bellows, "BRUUUUUUUCE" with her right hand in the air. I immediately pulled up from whatever homework I hadn't completed the night before as the haggard-looking homeroom teacher shouted, "Miss Veltri, that's quite enough!" Following mandatory prayers and the Pledge of Allegiance I begin to hear all the animated details of a concert by an artist I'd become somewhat familiar with. You see at Bishop O'Connell High School dances in the late '70s, Senior Steve Laurito played "Born to Run", "Night" "Badlands" and "Backstreets" the way other high schools played "Freebird" and "Disco Inferno." It was in December of 1978 that I was given the album Born to Run for Christmas.

And so it began...

Being a Springsteen fan in the Washington DC area seemed like the center of the universe at one time. Listening to Cerphe on WHFS and WAVA for whatever tidbits of info about current recording sessions, Clarence Clemons sightings at Windsor McKays bar up near the American University campus, Q 107 broadcasting a version of the song "The River" they recorded in the audience of the Uptown Theatre screening of the "No Nukes" movie until they got a cease & desist order, and later, Bruce and the E Streeters playing with Robbin Thompson at The Bayou in Georgetown.

Eventually I left the DC area to go to college in Philadelphia and found out what a real rock 'n' roll town was. Over the years, as I would return home for family events and various concerts I finally figured out the problem with DC rock 'n' roll fans: too many navy blue blazers, or more specifically the people who wear them. Wonks. Policy wonks. Government wonks. Media wonks. Whatever you want to call them. These folks who would make up about a third of the crowd of a typical Springsteen show would practically sit on their hands and golf clap after "Adam Raised a Cain," for god's sake. I'm pretty sure that it was the Washington DC crowd that invented the bathroom break, leaving at the beginning of whatever the fourth song was at any particular Springsteen concert.

Thankfully, a mere 31 years later, the wonk contingent seems to have dissipated... or gotten with the program. Last night's show at the Verizon Center was one of the best displays of a DC crowd being "in concert" with the performer. Following the dedication of the show to Leonard Sullivan, Bruce performed a powerful version of "Outlaw Pete" that was full of raw emotion. Less posing and "theatrics" with the cowboy hat and more just laying it out on the stage for the fans to lap up. Steven's guitar solos blistered and really kept the song together.

"Hungry Heart"'s crowd surf simply has to be seen to be believed. Back in the day we thought Bruce was really putting himself out there when he went into the crowd for "Spirit in the Night," but that was child's play compared to what he's doing now. Very reminiscent of what Peter Gabriel would do with his fans in the early '80s.

And then we came to Born to Run, the album. Honestly, the album I wish Bruce had featured last night was Working on a Dream. To my ears, it's easily his best work since Tunnel of Love, but taking note of people I respect as well as those that I don't, I clearly seem to be in the minority. (And while I have this tiny piece of bandwidth, where are the E Street Band versions of Devils & Dust songs? My favorite part of the Born in the U.S.A. shows and the reunion tour was seeing what songs Bruce picked from Nebraska and Tom Joad to incorporate into the E Street Band rotation. Sadly, that hasn't happened on the Magic/Dream tour.)

When I heard about this full album concept, I thought it was a ploy to put asses in the seats -- and maybe it is, in part. However, I can tell you I don't think I've ever heard the Born to Run material performed as passionately as I heard last night. Even though you know what's coming next (a friend leaned over after "Meeting Across the River" and said, "I hope he does 'Jungleland' tonight"), being taken out of its usual concert context gave the material a freshness that really surprised me.

As for the rest of the show, a shambolic but spirited "Stand on It" morphed into a cool running "Seven Nights to Rock." I finally broke down and enjoyed "American Land." Maybe it was my five-year-old daughter doing an Irish jig that caused me to soften.

And if there's one song that needs to finish every show on the rest of this leg, it has to be the cover of Jackie Wilson's "Higher and Higher," which last night beautifully featured the underutilized Cindy Mizelle and Curtis King in solo spots. It's not a "comedown" from Rosalita, but it's the perfect song to sum up the relationship between band and audience after so many years.

NEW YORK, NEW YORK
Thursday, October 29, 2009
Rock and Roll Hall of Fame 25th Anniversary Concert

Hail Hail Rock 'n' Roll

By Caryn Rose

The last thing I expected at 12-something Thursday night was for Billy Joel to walk out onstage with the E Street Band and play a couple of songs. Of course, at that point, it was already past ridiculous: a horn section, extra backup singers, and a parade of outstanding guests: Sam Moore, Tom Morello, John Fogerty and Darlene Love had already been out there, and clearly, we weren't finished yet.

It was only fitting that Bruce would open this show with the legend of E Street, but it was even more fitting when immediately afterwards he launched into an Apollo Theater-worthy, Star Time-quality introduction of his first guest. Sam Moore looked outstanding (hell, he looked better than every member of CSN) and was resplendent in a sequined vest and in absolutely fine voice. But the real treat was watching Bruce and the rest of the band in a mood that can only be described as "giddy." It was like watching the E Street Band do the Snoopy Dance from the Charlie Brown cartoon. Garry W. Tallent was even spotted visibly rocking out multiple times. And their special guests were equally thrilled.

"If Woody were alive today, he'd have a lot to write about," Bruce noted, before introducing Tom Morello as "one of the greatest guitar players in the world." He walked out grinning ear to ear, his guitar emblazoned with ARM THE HOMELESS, bringing to mind of course THIS MACHINE KILLS FASCISTS. The best thing about special guests of this caliber is that Bruce is above and beyond his A game. It's not that he doesn't usually work hard, but he somehow finds something extra, above and beyond, and the result will send you somewhere north of Pluto. Watching the two of them duel on "The Ghost of Tom Joad" was like watching two martial arts masters circling each other onstage.

Oh, yeah, and now John Fogerty's here. While I've resigned myself that the closest I'll ever come to seeing the two of them do "Green River" was through a closed gate at Cobo Arena during the VFC tour, "Fortunate Son" was certainly apropos, and "Proud Mary" is not anything to hate. But out of nowhere, Bruce starts talking about Roy Orbison, and while he wouldn't dare try it himself, the two of them were going to sing "Pretty Woman".

You were still picking yourself up off the floor when the notes to "Jungleland" started. And you are probably thinking, "'Jungleland' out of context? Nooooo!'" and I will tell you that you are wrong. This is not the first time I have seen "Jungleland." This is not the first time I have seen "Jungleland" at Madison Square Garden. I have to tell you, I got the shivers. I had goosebumps. It was genuine, as powerful as any "Jungleland" you have ever seen. Every chatty, bored concertgoer in our section had shut up and decided to pay attention by the time the sax solo had ended. As a fan, you wanted to turn around to everyone there for someone else and say, "Yeah, the Bruce Springsteen you didn't care about seeing, did you know he could do THAT? I bet you didn't."

Darlene Love, looking fabulous, comes out after a blatant plug for her upcoming Hall of Fame nomination, and somehow we find some more energy to dance to "A Fine, Fine Boy" and "Da Doo Ron Ron," Patti and Soozie over with the backup singers, clearly loving every minute. But just when you thought we might be heading for "Born to Run" and heading home, Bruce introduces a song "written by Mick Jones, and my brother-in-arms Joe Strummer," and Tom Morello comes back out onstage as "London Calling" blasts the roof off of Madison Square Garden. The transition into "Badlands" -- and having Morello remain onstage for this song -- is one of the more jaw-dropping moves Bruce has made recently (and that's saying a lot, given what "recently" actually means). I do believe the F-word made it into one of the "is anybody really alive out there" exhortations.

So when a baby grand was rolled out and Bruce went into a long rambling introduction about New Jersey and Long Island not really being that far apart and Billy Joel came out, we were all about ready for a break. He brought his band with him, and everyone got super excited, but given everything that had already happened, please forgive me if I was somewhat underwhelmed.

After "New York State of Mind," just when you thought (again) it would be time to go home: "1! 2!" and houselights and "Born to Run" and people are just streaming for the exits. They would be foolish in the extreme, because Bruce had something else on his mind. Lightning does strike twice, and everyone comes back out for "Higher and Higher," including Jackson Browne and Peter Wolf, who came out from somewhere, and almost everyone gets a verse, Sam Moore flashing a smile brighter than any spotlight.

As fans, we always like to think that Bruce & E Street blow everyone else away. Well, tonight, they actually did. It was a Hall of Fame-worthy show for a Hall of Fame performance.

ST. LOUIS, MISSOURI
Sunday, October 26, 2009

It's a Rockin' Rhythm Record I Want My Jockey to Play

By Michael Pemberton

This was my first show since May, so I was keenly interested how the tour has evolved over the past five months. The key on past tours has been the evolution of the new songs, so with the relative lack of new material on this tour my main question was "how can he keep this tour fresh for himself, the band, and the fans without stressing new material?"

The answer was playing the complete Born to Run album, which gave this show a very different feel. Not that these songs are that rare - he played 5 of the 8 songs here last year - but to hear them together as a unit made me listen with different ears. Having the house lights up halfway through the main set for "Born to Run" brought home that the song started as the cornerstone of the second side of the third record well before it became the cornerstone of a 35+ year career. The Tom Waits-ish "Meeting Across the River" brought back an era when Bruce had many possible career paths as a writer and bandleader, and it was far from certain that he would jump full-tilt into rock 'n' roll. The epic sweep of "Backstreets" and "Jungleland" were magnified by their context within the album, making me focus more on the lyrics than I have in years. It was a stunning performance.

Perhaps to counteract the intensity of the BTR material, much of the rest of the show was about release, dropping the "recession trilogy" and "Hard Times" from earlier in the tour. The highlights were mainly in the encores, with a great performance of Chuck Berry's "Roll Over Beethoven," a rare solo piano turn on "For You," and an even rarer performance of "Surprise, Surprise" with Bruce's 12-string chiming way up in the mix.

Yes, with my Bruce-geek goggles on I would have preferred any number of songs in place of the warhorses near the end of the main set. However, the inclusion or exclusion of a few songs feels like a small issue in the face of this high energy, joyous, 3-hour celebration. I've seen my share of shows, including nights when Bruce had to really work to find the show and connect with the crowd, and this was not one of those nights. Comparisons to shows 1000 miles away or a year in the past don't seem very relevant when I leave a show this happy.

Tryin' to make an honest stand

By Ray Phillips

It was nice to be back in St. Louis for a Springsteen concert. It was going to be hard to top the previous show here at the end of the Magic tour, which I dubbed the "you shudda been there" show, but I was optimistic that a great night was in store. The evolution of the tour, culminating with the last Philly show, coupled with the addition of the Born to Run sequence should have made this a can't-miss show!

It's probably fair to admit that I never listened to Born to Run start to finish until a few years ago. I regret that I took so long to discover this masterpiece. If this is not the best rock album ever, I'm not sure what would be in first place. It was with a lot of anticipation that I looked forward to hearing this work live from start to finish. And live, it didn't disappoint, despite the unfathomable disinterest from the crowd during "Meeting Across the River." The band was at the top of their game on "Backstreets." But the rest of the show? It seemed to die at the conclusion of "Jungleland."

People who throw a lot of criticism at a show tend to annoy me, but here I am one of them. Not that the effort wasn't there -- three hours and 27 songs -- but the song choices seemed very unimaginative. No stretching, no surprises, just a feeling of "Oh, that one that I've heard time and again." Admittedly the encore was a giant step forward, "Roll Over Beethoven" was a blast; but I'm not thrilled when Bruce is sitting at the piano by request, with a wide-open songbook, and "For You" is the song he chooses. Not after the thrills and chills of the Devils & Dust shows.

OK, rant done. I was needing a Bruce fix since my last show in Greenville, and I got it, so all is good with the world. Kansas City here I come... and here's hoping that I was the one who had an off night in St. Louis.

PHILADELPHIA, PA
Tuesday, October 20, 2009
The Spectrum
Night 4 of 4

Higher and Higher

By Glenn Radecki

I didn't think Bruce was capitulating to the fans per se by finally playing "The Price You Pay" -- the RIver track that hasn't come out in more than 28 years -- but the choice of opener on Tuesday night wasn't a coincidence, either. It was closing night at one of the "last great rock and roll arenas," as Bruce called it, with a large portion of the audience made up of longtime fans. But there he was, with a slight grin, even as he sang the song's somber lyrics: he knew this opener was a momentous occasion, and that reaction to the band's strong performance and the crowd's joyous surprise tipped his hand ever so slightly.

And a strong performance it was! It mirrored the album arrangement (rather than the one used on the River tour), with Curt Ramm's trumpet adding to the introductory melody. Bruce even took to encouraging the crowd to sing along to the melody lines, and when it came time for the passionate "tear it down and throw it away" line at the end of the song, he nailed it.

Yet on this magical night in Philadelphia, even "The Price You Pay" was eclipsed by what Bruce did at the end of the main set. There have been several "Higher and Higher" signs at shows in the recent past, but I always dismissed them as impossible: without horn players, there was no way the band could do the Jackie WIlson classic. So thanks again, Curt! All it took was a short introduction as the band remembered their parts, and then the song started, elevating the show to a height rarely seen, even by this band. Solos, crowd participation, a key change -- "we're gonna take it up to D!" -- the song had it all.

If Bruce is looking for a new musical challenge after this tour ends, one can only hope he considers a R&B/soul sessions project in the same vein as the Seeger Sessions. His take on "Higher and Higher" was truly revelatory and one of the finest Springsteen performances I've been privileged to see.

PHILADELPHIA, PA
Monday, October 19, 2009
The Spectrum
Night 3 of 4

Every time that you walk in The Spectrum

By Jason Franks

What is it about this place that always brings out the "rare" Boss? Of course, we all know that Bruce's Philly shows have a reputation for being, well, legendary... but this is getting out of hand!

Night three started with "When You Walk in the Room," a song made famous by The Searchers, and not played by Bruce for more than 30 years. It is this kind of song, in this kind of building, that really sets the tone for a special night.

The opening moments were extremely strong with "Two Hearts" (not played as much these days) and "My Love Will Not Let You Down" following the opening Searchers tune. Max Weinberg's power on all three was through the (probably close to crumbling) roof. Soon after, Bruce introduced the album of the night: Born to Run. Though many of these songs have been staples of Bruce's setlists for years, there is just something unique about seeing them in sequence. However, it's probably fair to say that "Backstreets" has really distanced itself from the rest (as if it needed to get any better) since Bruce began playing some of his albums in full. The energy that must go into playing that song is mind blowing, but when he reaches the "interlude" section, it becomes so obvious that this song is driven on pure adrenaline.

This was a show that flowed tremendously well. There were, of course, the "balls to the wall" portions as usual. "It's Hard to Be a Saint in the City" showcased the now-famous guitar dueling between Bruce and Steve. In addition, "Elvis" was in the building for "All Shook Up." However, tonight there was an extremely special (yet more mellow) moment mixed in between. Inspired by a successful marriage proposal in the pit, Bruce performed River rarity "I Wanna Marry You" for the first time in a very long while with the E Street Band. At first, unsure if Charlie knew the riff (and he did), he took the band through a stellar version that sent emotions through many who were probably in attendance the last time it was performed there.

A couple of early-tour warhorses were back in the set tonight. "Radio Nowhere" and "Land of Hope and Dreams" made welcomed returns and were stellar as usual. On the rarer side, an impromptu "You Can't Sit Down" (straight out of Overbrook High School, no less) followed an excellent version of "Rosalita" to close out an incredible show.

As you can see, the Spectrum holds a special place in Bruce's heart. But it also holds a special place in the hearts of the fans (many of whom traveled long distances for these shows). His concerts there have been legendary, beginning with his "not too warm" welcome on June 6th, 1973 (opening for Chicago)... my, how things change. Let's not forget that Bruce just happened to be booked at the Spectrum on the night of (and the night following) John Lennon's death in December of 1980. It's also no coincidence that the now famous "Birthday Show" (his fiftieth) was moved from the First Union Center over to the Spectrum in September of 1999... it was fate.

Along with events like the Flyers defeating the Soviet Red Army Team in 1976 (and beating them up but good in the process...you don't mess with the Bullies), J.J. Daigneault's game-winning goal in game six of the 1987 Stanely Cup Finals, and Dr. J's classic windmill dunk against the Lakers, Bruce's lengthy Spectrum concerts are part of what gives this building it's mystique. What more can be said? There is just something in the air "every time that you walk in the room."

PHILADELPHIA, PA
Wednesday, October 14, 2009
The Spectrum Night 2 of 4

Lean, Streamlined, and Intense

By Magnus Lauglo

Bruce opened again boldly with "Thundercrack," familiar only to the truly dedicated fans. And as the enthusiastic crowd response confirmed, there are many dedicated fans in Philadelphia. This old outtake hadn't been played live since the early Magic tour, about two years ago. Initially crafted to be the unforgettable show-closer and to make the most of the limited stage time allotted to the band in the early '70s, this old bootleg favorite was no less spectacular as a show opener.

More serious setlist shuffling was evident when Bruce finally debuted "What Love Can Do," one of the few true rock songs on the much-neglected new album, and the E Street Band put its usual muscle behind the sinewy, taut rocker. Even the Philadelphia crowd seemed to pause for breath here, demonstrating the very real challenges Bruce has faced in bringing the new songs to the live setting. All the same, I was sorry to see the song replace "Outlaw Pete," rather than simply being added as a third Working on a Dream track (after all, wasn't this supposed to be the Working on a Dream tour?). The move reaffirmed that the setlist remains a work in progress, and that no song can truly be taken for granted every night.

Also included early on was "The Ties that Bind," the first of four River tracks to be played; all upbeat tracks that served as a bright counterbalance to the raw and brooding intensity of the full Darkness on the Edge of Town. Getting all the songs from that album performed live was a real treat, but, for my money, that thematically rigid song sequence works better on a studio album than in the live setting. While The River may be too long to be played live in its entirety, it is chock full of up-tempo crowd pleasers that should be brought out more regularly. Running into the audience on the floor, and then crowd surfing back to the stage really injects vitality into "Hungry Heart." Later, a loose and celebratory "Sherry Darling" and the pounding "Ramrod" were both played as sign requests. The former included Patti on vocals to great effect, and Bruce had a lot of fun getting her to dance with him to the triple accordion musical break.

Curt Ramm was on and off stage all night, enjoying many moments in the spotlight -- most definitely a guest who has not outstayed his welcome. His trumpet solos really add a lot to the sound of the band, complementing Clarence's saxophone, and not adding needlessly to the heavy mushy sound that holds back songs like "The Rising" and "Last to Die." If anything, Curt is getting more face time in the current show than certain regular band members. With seven consecutive shows under his belt, he seems to have been adopted, temporarily at least, into the expanding circle of E Street auxilia.

This is in stark contrast to Cindy and Curtis, who seem to have been relegated to the role of virtual guest performers, coming to the front for one or two songs only. This is a real shame, as it is clear that Bruce is still willing to try out material from the new album, much of which would really allow them to shine.

Overall, a lean, streamlined, and intense show, with plenty of surprises. The encore, while only five songs long, was positively explosive, and there can't have been many people left in their seats. "Detroit Medley" made a welcome return to the set and added to the River era feel of the night. Many fans might have hoped for a sprawling three-hour-plus marathon, but I'm sure I wasn't the only one staggering out of the Spectrum into the night feeling exhausted and spent.

PHILADELPHIA, PA
Wednesday, October 14, 2009
The Spectrum Night 2of 4

In The Darkness, I Hear Somebody Call My Name

By Caryn Rose

Darkness on the Edge of Town was the record where my fantasies of seeing Bruce Springsteen live began. I wish I could tell you that I remember vivid details of my first show (1978, New Haven, CT), but I would be lying. I remember that I was there, and a loud guitar and a spotlight on a stage, but the rest was one giant overwhelming blur of sound and emotion. I don't remember if I decided if it matched my fantasies, but it must have met some kind of expectation, given that I am still here, 30 years down the road.

I was 14 going on 18, or at least that was what I fervently wished for. It was the summer when everything seemed to move in slow motion. There were places to go and things to do and I was trapped in a suburban bedroom, where I had to endure the indignity of asking my father to buy me my copy of Darkness or face waiting weeks before I could get to Discount Records under my own power. My dad (like everyone's dad) made some crack about the guy on the cover looking more like a gas station attendant than a rock star. (It was about as bad as asking him to acquire This Year's Model for me.)

Darkness in Giants Stadium should have been horrible, but it was surprisingly effective. Then again, I had the luxury of being in the front GA section -- I am sure that had I been sitting in section 118, there would have been a guy from Toms River yakking to his buddy about car parts or lawn care or something else equally inconsequential during "Streets of Fire." But Darkness in an arena, in what is arguably the arena for that album, was on a completely other level, no matter where you were sitting.

The intimacy of the surroundings undoubtedly enhanced the experience for everyone involved, band and audience. The band's performance -- already excellent at Giants Stadium -- was stronger, more together tonight at the Spectrum. Perhaps it was the engagement and attention transmitted by the crowd; perhaps it was just the ghosts swirling around the room. Bruce's guitar solos were sharper and more focused, the colors richer (although I still don't understand why he gives Nils the "Prove It" solo!).

I was most moved by the songs I least expected to grab me by the throat. "Something in the Night" doesn't lack in pathos, but it was absolutely riveting. In fact, the whole sequence from "Adam" to "Something" to "Candy's Room" to "Racing in the Street" was nothing short of spellbinding. Once you get through the big-stadium-anthem-ness of "Badlands" (just once I would like him to let it be, just to see what happens), you are in the thick of it. If you were there in real time you would be fighting off emotions and memories in order to just be able to stand there and FEEL IT. And Bruce was absolutely feeling it last night at the Spectrum as well. We get so used to him running all over the stage for everything, but it was more like those old black & white photos you remember, the spotlight on him and the rest of the stage dark. By the time "The Promised Land" emerges like a long lost friend, you are grateful for the respite it provides.

There is nothing in the world that will prevent a Bruce Springsteen audience from running for beer or the bathroom during "Factory," and while it might teeter on the edge of blasphemy, frankly I cannot blame them. It is only three minutes, however, but it is the three minutes that stand between you and the piece de resistance, "Streets of Fire". Maybe I have just built this one up in my head too much, but I still felt like something was just the tiniest bit off in the performance. It didn't seem like Bruce was centered, it felt like the pace was a tad too fast. His voice, as at Giants Stadium, was in brilliant form, hitting the soul growls right on cue, and redeemed whatever perceived flaws there might or might not have been.

"Prove It" remains the biggest surprise for me in the album sequence, feeling fresh and exciting and something to look forward to, and the title track as well has regained new life. "Darkness on the Edge of Town" can plod or sometimes cause a setlist to come to a thundering stop. In the album sequence, it regains majesty and place again.

It is rare when the past lives up to the present. Darkness on the Edge of Town at the Spectrum -- along with the blistering set that bookended it -- managed to do that and more. I couldn't get to the Spectrum on that tour -- you probably couldn't, either, for any number of reasons. Last night, we all got there.

PHILADELPHIA, PA
Tuesday, October 13, 2009
The Spectrum Night 1of 4

Philadelphia Fever

By Magnus Lauglo

So strange to think that once upon a time the Spectrum represented the kind of sports arenas that a young, idealistic and sellout-wary Bruce Springsteen felt was just too large to do justice to his stage show. Fast forward 35 years, and coming straight from Giants Stadium, the Spectrum felt small, even intimate.

Like Giants Stadium, the Spectrum is soon to fall to the wrecking ball; Bruce once again pulled out his new anthem of that name, with lyrics changed to suit this Philly venue which has seen many classic shows over the years. How sadly appropriate it is then, that these buildings that have hosted so many legendary nights of E Street magic are to be torn down around the same time as the band itself will be be pulling into the station to, at the very least, catch its breath.

Philadelphia always seems to get "special treatment" from Bruce, quite simply because it always hosts him in the best possible way. This is the town where Bruce can confidently open with an old, obscure outtake like "Seaside Bar Song," last played with the E Street Band around 1974, and the faithful crowd will just eat it up. Opening night in Jersey felt to me like a warming up of sorts, but by the time the band hit the stage for the first night in Philly it was already white hot.

The rarities kept on coming: a shaky but heartfelt "Little Bit O' Soul," the Philadelphia special "Fever," both honoring request signs from the pit. "This Hard Land" in the encores was dedicated to Philabundance, the local food bank. But rare live songs notwithstanding, what really elevated this show was the overall vibe of the band, and the energy from crowd, whose roars grew only stronger as the night went on. From my excellent spot in the pit, in front of Clarence, it was almost inevitable that I'd enjoy this show even more than I did the Giants stand, when I was sitting far from the stage. But the Spectrum just seems so small -- I doubt there's a bad seat in the house. Even standing up front, I kept turning around to watch the crowd go crazy behind me.

Playing full albums has its pros and cons. It anchors the set solidly in a celebration of the history of, and the relationship between, the band and its audience. The encores are shorter, and the popular request sign portion of the show is abbreviated. Of the three albums played, Born to Run seems to work best for the show overall -- it is a real live centerpiece, easily more than the sum of its parts. Perhaps because I had heard all of the Born to Run songs live many times, I was able to soak it in as a unified live experience, rather than focus on one or two anticipated rare live songs that were special treats for me.

Bruce pulled out the kind of show that veteran fans might have hoped for on a closing night, setting the bar very high for the rest of the final stand at the Spectrum. It was bye bye New Jersey, we were airborne!

EAST RUTHERFORD, NEW JERSEY
Friday, October 9, 2009
Giants Stadium Night 5 of 5

The Call of the Wreckin' Ball

By Caryn Rose

It was a party. It was a wake. It was a celebration. It was a goodbye. Tonight at Giants Stadium was all of those things mixed together.

On the surface, it seems puzzling. One might wonder why Giants Stadium needed a sendoff. This is not the loss of a legendary music venue on the level of, say, CBGB's, the Fillmore East, or the Spectrum. Heck, even football fans aren't mourning the demise of Giants Stadium.

But it was where Bruce went when there was nowhere left to go. It was the only frontier he hadn't crossed. He fought as he moved from clubs to theaters to arenas to, finally, Giants effing Stadium. And when the E Street Band returned to Giants Stadium in 2003, it turned into the intergalactic space station for Springsteen fans. You stood shoulder-to-shoulder with fans from all over the country and all over the world. I remember standing there the last night, looking out at the crowd singing along to "Born to Run," and thinking, "Look hard, because you may never see this again."

Tonight, of course, I thought the same thing, except that tonight I knew it was true.

Friday night. Perfect weather. No rain in sight. It could have been terrible, and the rain held off until almost the last note was played. 31 songs came off of that stage tonight, over three hours, including Born In The USA. It was a night to think about things like, I wonder where you go to buy an American flag bandanna, isn't it amazing they still make them? or wonder what Patti thinks, exactly, as she watches her husband bodysurf across the audience, or to look up at the sky and count the stars overhead, and think about the line "I work down at the car wash, where all it ever does it rain," and realize that no matter how many times you have heard "Downbound Train," it never hit you quite the same way before. And it was a night to raise your arms in the air and build a house and sing along to the Rolling Stones during the request set (appreciated that the requestee wrote the key of the song on their sign, along with requisite regulation Stones tongue).

Those were just some of the moments tonight. There were dozens of tiny moments making bigger moments, becoming memories.

I wish I could tell you that the super star-studded, grandiose-rumored encore for this evening came to fruition, and that we danced on the field until the wee hours of the morning. Regretfully, the best I can do is report that we had to settle for a view of the back of Brian Williams' head for a couple of songs and watching Chris Martin in the crowd singing along to "Born in the U.S.A". Jon Bon Jovi was nowhere to be seen -- but on the other hand, neither was the Clapton/Jagger/Townshend/Hendrix/Lennon much-promised combo. (I am exaggerating for effect on the last two, but I have to tell you, had the last show been tomorrow, the rumors would have gotten there.)

"Last to Die" and "Long Walk Home" came back. "Tougher Than the Rest" would have made a more apt congratulatory song for the couple who got engaged tonight than "Sunny Day," a song that dearly needs a little bit of a rest. "Seven Nights to Rock" should have been back a long time ago. "Kitty" came back again, even more fireworks went off than the past four nights, and then "Jersey Girl," the number one most requested song of the entire stand, floated through the pyrotechnic smoke.

One more, right? One more. We saw Bruce throw the harmonica back to Kevin before he started "Jersey Girl" so we've got a "Thunder Road" or a "Rosie" or something else coming, right? We just got started. But instead of another song (or two, or three) it is Bruce shaking hands with every member of the E Street Band, and then Bruce and Clarence embracing. Once the Big Man was safely on his way down the stairs, Bruce turned to us one more time, held the guitar aloft, and then vanished himself.

In the crowd, no one is leaving. No one is making a move to leave. Everyone is stunned. That can't be it. Where is Bono? Where is Jon Bon Jovi? Where is -- oh, hell, we'll even take Southside and a cheery "I Don't Want to Go Home." But that is it, as the flood lights snap on, blues floats out over the PA, and the roadies swarm over the stage. It seemed odd to say goodbye that way, but Bruce was done, and it was time to go home.

EAST RUTHERFORD, NEW JERSEY
Thursday, October 8, 2009
Giants Stadium Night 4 of 5

In from Asia to Re-board the Train

By John McGuire

Last night was not my first Springsteen show, but it was the first in far too long. My family and I relocated to Hong Kong a few years ago which has put an unfortunate end to seeing multiple shows on each tour. I am a big fan of the new material and was excited that a previously planned trip to the US afforded me the chance to see Bruce and the band support Working on a Dream. The fact that I was also going to be able to experience the full Born to Run album was an unbelievable bonus.

As always, Bruce and the band did not disappoint. What struck me the most about the performance was that it seems to have gotten more energetic and intense relative to prior tours. I am amazed, and thankful, that these guys haven't slowed down at all. In addition, I had no idea about the crowd surfing portion of the show and was a little taken aback when Bruce leaned into the crowd and was heading right past me. It was great to have a CBGB moment at Giants Stadium.

I thought that having the full album rendition of Born to Run in the middle of the set worked really well and added real energy to the show. The performance was fantastic and it was great to have a full horn section on hand. In particular, I'll never grow tired of looking around GS with the lights up on "Born to Run" and seeing 70,000+ sets of arms in the air. Other highlights of the night from my perspective were "Outlaw Pete" and "Human Touch." I really enjoyed the production of "Outlaw Pete" and thought the video backdrops really added to the overall effect of the song. In addition, it was great to see "Human Touch" get the E Street Band treatment. I had heard them sound-checking it outside the stadium before the show, and I thought they absolutely nailed it.

Reflecting on the experience after the show, I realized that what I have missed the most about not being able to see Bruce and the band the past few years is the sense of community that you experience at each concert. Last night provided me the opportunity to re-connect with a good friend and brought multiple smiles to my face watching the young and old in the crowd thoroughly enjoying themselves up on the video screens. On a more personal note, I was inspired by a young man with Down Syndrome who was up front and clearly having a great time. My daughter was also born with Down Syndrome. Seeing his experience as part of the broader Bruce community gives me hope that there will be accepting communities for her as she grows up.

Looking forward to one more stop on the Springsteen train tonight before heading back to Asia. Hopefully, it will not be my last.

Born to Run Live and In Person

By Caryn Rose

It was always about the pictures in my head.

It's been the same picture since the first time I heard it, at some point during a mixed up summer between grammar and middle school, when I heard a song on the radio, waited patiently to hear it again so I could write down the artist, and on a treasured trip to the record store, bought the album with the stark black and white cover. Which struck me as odd, because the pictures I had conjured up in my imagination to go with the song were in vivid technicolor.

Listening to the entire album was like the moment when Dorothy wakes up in Oz, ruby slippers and all.

Thirty-something years later, and I am here, in Giants Stadium, to listen to this album be performed in its entirety. As the saying goes, I wasn't supposed to be here today. Just like I wasn't supposed to be here the previous Friday to hear Darkness on the Edge of Town. Darkness and then Born in the U.S.A. the next night were so compelling I decided I needed to see Born to Run, too, the album about "one long summer day, and night," as Bruce introduced it tonight.

How many times have we all heard "Thunder Road"? There have even been moments when it might have felt anything but inspiring in the set. But tonight, it is the door, it is the key, it is a bright summer morning. The house and the porch and the yard are still the same in my head as they were thirty-plus years ago, but I am usually not thinking of that.

Tonight, however, I am.

It's not like I planned it -- it's not like I thought about this in advance. The pictures snapped into focus after the first few harmonica notes. Maybe it's about the intent from the band, the act of "We are now going to play the album in order." Maybe it's the attention from the audience. Maybe it's just my vivid imagination. Whatever it is, it is extraordinary.

I am less forgiving with "Tenth Avenue Freeze-out" maintaining its big stadium anthem form. However, all sins against "Tenth Avenue" are forgiven tonight by the presence of a real, live horn section: Clarence and his nephew, Curt Ramm, and Eddie Manion himself. "Tenth Avenue" with E Street and a real horn section is something I had given up hoping I would ever see. If you think the difference is not night and day, you are underestimating the horns greatly. Their soul and power is so much the heart of the song -- and remember, they were how Stevie got his job.

"Tenth" thundering into "Night." "Backstreets" opening with the guitar aloft in salute. "Born to Run" and I cannot begrudge this song its big stadium mode, it is one of my favorite parts of the show, but to be honest, I think keeping it small and keeping the momentum going would have been fine for the crowd, even here in the blimp nest. However, the lights get shut down almost immediately so the stage can go dark for "She's the One." To be fair, it got a little lost in the express train that is "Born to Run," but survived.

A couple thousand people hold their breath as Roy begins the piano notes for "Meeting Across the River," and we are graced with the trumpet intro, played by Curt with emotion and color and obvious care. The trumpet was a nice touch, and it instantly brought an intimacy to the performance of a song that almost demands it.

Then, once again, the guitar held aloft in tribute, and "Jungleland" is like a rocket taking off. It is a thousand colors, it is musical fireworks, a million different emotions. I mean, it always is in some form. But in place, in context, in the middle of the set, it feels a million times more so.

Before we know it, it is over. 40 minutes of one of the most perfect record albums ever made, played live in front of us, 24 hours brought to life. Bruce calling the musicians to the front of the stage -- "These are the guys who made that record, and Phantom Danny Federici" -- and we cheer and we ache just a little bit at the same time. I wonder if this is the only time I will ever see this. I wonder if this is the last time I will hear some of this. I try to stop wondering, and clap harder instead.

EAST RUTHERFORD, NEW JERSEY
Saturday, October 3, 2009
Giants Stadium Night 3 of 5

Jet Propelled Back Home to the USA

By Glenn Radecki

Born to Run may be the most critically acclaimed, and Darkness has, in Bruce's words, "made up the body of our set for most of the past 30 years," but I was in some ways most excited to see Born in the U.S.A. performed in order at Giants Stadium.

I've always felt it was one of Bruce's most consistent albums and best overall song cycles. There is no weak link on the album -- they may not be Bruce's very best songs, but there is no obviously subpar song among them, nor is there anything obviously out of place that disrputs the flow of the record. Despite all this, nothing from the record is ever played in order during the live shows. "Meeting Across the River"/"Jungleland" has been done quite a few times since the reunion tour. "Badlands"/"Adam Raised a Cain" was already being done on this tour. "Last to Die"/"Long Walk Home" was every night on the Magic tour (and a treat to have back in the set on Saturday night). "Cover Me"/"Darlington County" and "No Surrender"/"Bobby Jean"? What we saw on Saturday was the first time those songs have been played in that order.

It's been truly fascinating to see, particularly with the U.S.A. album, how staples of the Springsteen live set, even those played hundreds of times, found a new power and forcefulness once recast in the context of the album from which they came. "Thunder Road" on Wednesday, and in particular, "Prove It All Night" on Friday came across stronger than they had in quite some time.

On Saturday, "No Surrender" smoked like it hasn't in recent memory, as the perfect follow-up to a simmering "I'm on Fire," introducing the back half of the record and indicating the thematic shift of the album as side two started. "Glory Days" and "Dancing in the Dark" were a treat to see back in the main set for the first time in years. The biggest surprise of all, though, was the new life breathed into perpetual encore song "Bobby Jean" as it followed "No Surrender." Bruce clearly loves the song, given its presence on every tour since the song was written, but as an encore standby for so many years, the performances of "Bobby Jean" have typically not been nearly as compelling as on Saturday night at Giants Stadium.

With so many of Bruce's usual encore choices in the main set, it was a treat to see the band take on an extended (13 minute-plus) version of "Kitty's Back," complete with a hot trumpet solo from Curt Ramm. Ramm, who also played on "Last to Die" to good effect, has added color and depth to several performances since he started performing with the band this week. Now if Bruce would also only add two or three more players to get that full horn section on stage...

EAST RUTHERFORD, NEW JERSEY
Friday, October 2, 2009
Giants Stadium Night 2 of 5

A Novice in New Jersey

By Heather Malkin Nesle

Friday night was technically my third Springsteen show. While I saw Bruce back in 2003 at Shea, I had also gone out to Nassau Coliseum to see his acoustic tour. They could not have been two more different experiences, and I was ready to recapture the awesomeness that only a full E Street Band can bring.

So, what did I think of the show? I loved it. The same energy I remembered from Shea was there the instant the band stepped on stage. Although I have to admit I didn't know the words to many of the songs on Darkness, it was fantastic to hear it in the order it was meant to be played in; I can't recall ever being at a concert where that has happened. And, now that I've heard it live, "Badlands" has climbed even higher on my list of favorite Springsteen tunes.

Maybe I have no idea what I'm talking about (this was only my third show) but it felt like there was a greater intensity in Springsteen's delivery than that first show I saw back in 2003. He seemed to grow sentimental when he spoke of how this album resurrected the band after a few years of turmoil. I couldn't help but think of most of the lyrics from Darkness and how they speak of a desperate, lonely time, where the protagonist doesn't have a lot of money and is cynical about those who do. I wonder what it's like to sing these songs from such a different vantage point. Could the intensity come from a place of longing? Could someone who has sold millions of records, and who just turned 60, perhaps perversely miss that darkness? Kind of felt like it on Friday night, and it made for a powerful evening.

Aside from the songs themselves what strikes me the most about seeing this band in concert is the sheer joy of their performance. Even without the crowd surfing and microphone pole dancing, it is clear that this is a group that enjoys performing. The sheer amount of sweat that Springsteen sheds in one song could fill a shallow pool. That kind of effort can only come from a place that is genuine. It's not hard to see why so many people love this band. And now you can add one more.

By Glenn Radecki

Something I always look forward to in a Springsteen tour is a true "series" of shows (3 or more) at one venue, mostly because of Bruce's proclivity to shake up his setlist over those shows. The changes keep it interesting for the band, certainly. But Bruce also makes sure they provide value to the loyal fans who are there more than one night, particularly in a venue like Giants Stadium, where many have traveled considerable distances to be in the audience.

Given the "entire album" performances, it was unclear if there would be many additional changes (save the sign request portion). The first show on Wednesday night was a strong performance, but an otherwise "Model A" set framed the Born to Run album.

On Friday night, however, I was extraordinarily pleased to see Bruce make significant changes to the set in addition to the magnificence that was Darkness top to bottom. "Long Walk Home," in particular, was a gale-force wind of fresh air in the set, both for its powerful performance, including Stevie's vocal spotlight, but also replacing the tired "Lonesome Day." (Where exactly have the Magic songs been hiding this tour, anyway? They're still very much thematically relevant).

"Johnny 99" also got a well-deserved night off, as the "recession arc" completely disappeared in Friday's show. The anger and power typically found in that portion of the set was ably represented by the Darkness album performance, of course, and the arc's absence from the set brought a new sense of excitement in which the audience really didn't know what to expect next. Choice sign selections of "Be True" and "Jailhouse Rock" helped, too!

The nightly humor coming from the stage also manages to give each night a distinct flavor, with two notable examples coming from tonight's encores. "Cadillac Ranch" found the little girlie in the blue jeans so tight driving through the "Ho-Ho-Kus night"; and during band introductions, Bruce's recitation of Clarence's various attributes included "Author!" and him getting his copy of Clarence's new book signed in person.

EAST RUTHERFORD, NEW JERSEY
Wednesday, September 30, 2009
Giants Stadium Night 1 of 5

The Legendary E Street Band

By Glenn Radecki

"That's right, we sprung for the fireworks!" was Bruce's comment as he finished his E Street Band introductions, with rockets shooting from the Giants Stadium upper deck behind the stage. Bruce was clearly intending to add some special touches to the final series of concerts at Giants Stadium, whether pyrotechnic or with music, and a world-premiere of a new original Springsteen composition, "Wrecking Ball" to open the show on Wednesday night.

I was struck that in addition to the obvious celebration of the stadium -- where, after this series of concerts, Bruce will have performed for more people than at any other venue -- tonight was also a celebration of the E Street Band itself. The full-album performances (tonight's was Born to Run) were introduced as something special for the final Giants Stadium stand, but after "Jungleland" faded away, Bruce brought Roy, Garry, Steve, Max and Clarence to the front of the stage for a bow and a special mention: "those are the guys who made the music...and Phantom Dan Federici." The tour started referring to the "Legendary E Street Band" once the Giants Stadium shows were announced, and now that the shows have arrived, Bruce seemed even more concerned than usual with showcasing them for the crowd, especially in light of the news that a break from the band is coming after the tour ends.

Playing albums in their entirety may not be the most artistically interesting thing Bruce has ever done, nor do the albums chosen break and new ground for the tour. (Maybe a full Tunnel of Love is just my wishful thinking, but Bruce could certainly have tried The Rising, Magic or even Working on a Dream in full). But the full Born to Run does particularly highlight just how good the band that performs with Bruce is, especially with many of Roy and Clarence's signature moments featured therein.

In addition to celebrating his band, at this first show following his birthday, Bruce also took an opportunity to celebrate himself with a hilarious story in the middle of "Growin' Up," about the "worst dream I ever had" with his house full of relatives ("I don't like too many people around") and a cake with 60 candles..."reminding me of something I didn't want to think about!" before noting that he woke up, it was just a dream, and he went back to bed and started dreaming that "I took month long vacations in the stratosphere..."

You Can't Start a Fire Without a Spark

By Magnus Lauglo

It was, in all, an oddly paced show that started very much in first gear -- as if Bruce were trying to getting a fire started to keep us warm through the chilly fall night. The towering, bittersweet, and okay, sorta hokey surprise opener notwithstanding, this was not a night chock full of rarities and surprises. Unlike last year's Giants shows, the main story of the evening had been announced in advance: the full Born to Run album live was absolutely the centerpiece, the main course, and the most rewarding part of the night. Gone was the wild summer party atmosphere -- this was about being part of a time-honored New Jersey state ritual. The E Street Band is playing Giants Stadium for the last time. Tickets are aplenty, and everyone is invited.

The best way to enjoy a show like this was to have psyched yourself up for hearing the album in sequence, and then just soak it all in alongside some 50,000 New Jersey fans who grew up with Bruce on the car radio. And as it turned out, on a cold night with nostalgia in the air, there was no better way to warm the spirits of the huddled masses than by bringing out Born to Run and playing it all the way though. The result was not quite pandemonium so much as a communal outpouring of emotion and of shared memories, a hometown celebration of Bruce Springsteen's most universally loved studio album. Born to Run live was the big log being thrown onto the fire, and it warmed us all.

Of course, Giants Stadium crowds are always more excited about rocking the house than they are about building a house. The end of the main set was Rising-heavy and not quite enough to keep up the vibe after "Jungleland." But nothing he could have played would have done that anyway.

In addition to the passionate centerpiece, there were a handful of moments throughout the night of brilliant showmanship that reminded me why this guy is so good. The highlight of the night was "Growin' Up" with perhaps the first full length story since 1985--a tongue-in-cheek description of Bruce's recent milestone birthday that was hilarious and touching all at once, and a nod to any veteran fans who were hoping for a unique performance to remember the night by.

And so the fire has been lit, to keep away the cold onset of fall, at least for a little while. As the tour winds to its close, expect Bruce to add fuel to the fire and turn up the heat a little. We might not get another encore from the E Street Band, so enjoy the fun while you can. This is our Kingdom of Days.

DES MOINES, IOWA
Monday, September 21, 2009

We're Havin' a Birthday Party... in Iowa??

By Selvin Andrade

It may have taken the better part of four decades, but the E Street Band finally made its first appearance in Des Moines, Iowa (census population 198,682), just two days before Bruce Springsteen's 60th birthday. And what an appearance it was.

The show opened with "Tenth Avenue Freeze-out," accompanied by the now-famous scrolling Super Bowl graphics. A few songs later, Bruce took his now regular stroll through the back of the "pit" during "Hungry Heart," pausing along the way to thrust the microphone to the remainder of the general admission audience in an attempt to bring them to even greater heights. And this was barely 30 minutes into what would prove to be a 2 hour, 52 minute show!

"Seeds" featured a nice solo by Bruce, even if the performance turned a bit ragged right before the ending. The mid-point in "Johnny 99" found Steven in hysterics over a seemingly private joke with Bruce that had something to do with chicken parmesan. "Youngstown" had Nils turning in his usual spectacular solo. The highlight of the request segment was Dion's "The Wanderer," marred only by the roughly four-minute confab among Bruce, Steven, Nils and Roy that preceded the performance, during which they tried to figure out exactly how to play the song for the first time. During the song, Bruce modified the lyrics to "tear open my shirt and show her Rosalita on my chest." After the song ended, Bruce shredded "The Wanderer" request sign which had also included a large "stumped?," noting that "nobody stumps the E Street Band." "The Wanderer" was followed by the rare live sequence of "Incident" (a truly fantastic performance) into "Rosalita." Reliable sources have those two songs last played in album order in 1981. "Into The Fire" appeared later in the main set, another rarity, highlighted by Bruce's wails prior to launching into the song itself.

The encore opened with Steven leading the crowd in a ragged rendition of "Happy Birthday" to Bruce, which undoubtedly was the cause of Bruce's wry smile while singing the "ain't that young anymore" line during the "Thunder Road" that immediately followed. The remainder of the encores followed recent form, but for the elderly grandmother (if not great-grandmother) pulled up on stage during "Dancing in the Dark," and Bruce's "thanks for a great birthday party" that concluded the evening's festivities.

This was a very solid show, even if it did not rank with the greatest shows of the last several years. And having been joined at the show by the lovely Aimee, a Bruce "virgin," made me appreciate the occasionally overplayed song ("Bobby Jean," anyone?) just a little bit more, as if I were seeing and hearing the songs through eyes and ears far less jaded than my own.

Let's hope it's not another four decades before the fine citizens of Des Moines get to experience the Viagra taking, history making, LEGENDARY E Street Band again.

CHICAGO, ILLINOIS
Sunday, September 20, 2009

A Love Reaction

By Bethaney Dale

Shortly after Born to Run was finally released, Bruce famously said, "I hated it! I couldn't stand to listen to it. I thought it was the worst piece of garbage I'd ever heard." Well, last night in Chicago there was nothing but love all around. Love for BTR, love for the band, and love from the band. It was a big city show, and the crowd packed the United Center to the top of the rafters all the way around: ready to witness, ready to participate, ready to love that pants-dropping, heart-stopping, legendary E Street Band. You could feel it, the anticipation was electric... and when BTR arrived in the middle of the set, it delivered on all expectations. A particularly beautiful "Meeting Across the River" spotlit that soulful trumpet as well as Richard Davis on stand-up bass (Bruce told us Davis played it on the album). After the primal screams of "Jungleland," the band took a round of bows center stage. It was as though Bruce could finally exhale, commitment made and met, in spades.

Elated, we sing along to "Sunny Day," pledge our allegiance to "The Promised Land," and then we're off to "Radio Nowhere" with Max doing Jay proud on what's become the younger's signature solo. The mutual love keeps flowing with a killer "Badlands" and once again the request segment soars, now shifted to the end of the show. Almost better than the songs is the interaction among the band as they react to Bruce's choices—"Rockin' Robin"? Are ya sure? It shows up on a paper plate sign, so Bruce cracks himself up, calling it the "pie plate special" over and over. An incredibly rollicking "Rosalita" sends the crowd away on a love-struck high.

As the lights come up and the band leaves the stage, I'm lucky to glimpse a private moment that says it all. Clarence descends the stage from a hydraulic lift to avoid the steep stairs. Bruce is there to meet him on the arena floor, helping him from the platform and planting a kiss sweetly on his cheek. True love is always best revealed in the smallest of gestures. I choke up, smile and sigh and step out into the Night.

GREENVILLE, SOUTH CAROLINA
Wednesday, September 16, 2009

Big Hits

By Ray Phillips

Greenville was my first show since Greensboro in the spring, and once again Bruce gave us Carolinians something to write home about. Before I neglect it, kudos to Jay Weinberg who was behind the kit for the entire show. As Bruce said, he is the only other guy to "sit in that seat in 35 years!" If that wouldn't intimidate you, I don't know what would. Does he lack some finesse? Of course. What 19 year-old doesn't? But, to those who have criticized Jay, let me just say that he anchored a top-of-the-line show last night and did himself proud including a standout performance on "Johnny 99." Way to go Jay!

From the "Tenth Avenue Freeze-out" opening to the encore closing "Thunder Road," there was hardly time to take a breath. The setlist was good, though not terribly different from previous shows on this tour, but the intensity and energy level just never let up. Setlist audibles throughout kept the show at a fever pitch. A requested "Ramrod" in the middle of the main set added fuel to the fire--he wasn't about to let the audience come down. James Brown may have been the "Hardest Working Man in Show Business," but I have never seen anyone (and I saw James Brown in his prime) that could have outworked Bruce last night.

The real adventure of the evening ("the E Street band has never played this!") was the requested cover of the Rolling Stones' "(I Can't Get No) Satisfaction," with Bruce taking the Keith Richards riff. I said to my son Chris that the song was a hit before he was born, and he replied that he grew up with my copy of High Tide and Green Grass so he was quite familiar with it, thank you very much.

Even the encore seemed like a real encore, unlike some previous shows. >From the amusing (certainly Bruce was amused) "Double Shot (of My Baby's Love)" supplemented by four of the Swingin' Medallions from South Carolina, to the always welcome "Detroit Medley," the encore closed the show the same way it started. For my money, this show was right up there with St. Louis '08 as a favorite of mine. Thanks Bruce, for making the drive home from Greenville a very satisfying one.

I'll Work for Your Love

By Jon Phillips

There's a reason Max never takes his eyes off of Bruce--you never know what he might decide to do next. So shame on me for looking away for a moment during "Hungry Heart" and not realizing that Bruce had already jumped off the stage and was heading towards the back of the pit. He walked along the barrier, singing all the way, and climbed up on the supporting step to raise his mic to the crowd. I had visions of the photos from the '78 tour of Bruce standing on a theater seat, or even the 1992-'93 tour when Bruce would go crowd surfing. He made the full lap of the pit unscathed and had the crowd in the palm of his hand by the end of his walkabout.

That effort was emblematic of the show: this was my 46th Bruce concert, and I can't remember seeing him work as hard in the last ten years. As much as the Carolinas have tried to establish themselves as a Springsteen beachhead down South, Bruce seemed to know from the start (rightfully) that he was going to have get the crowd's energy up and use the setlist to keep it there. So "Wreck on the Highway" didn't get played and "Satisfaction" helped bring the crowd back around after the clearly lesser-known "This Hard Land" was played in the first sign slot. "Ramrod" killed, and "Detroit" provided a great anchor for the poppy encore.

A high energy setlist, a high energy Bruce, and Jay pounding away all night like he had something to prove. And he proved it.

FT. LAUDERDALE, FLORIDA
Sunday, September 13, 2009

Sunshine State

By Michael Zorn

As someone who once lived in Florida, I take every opportunity to revisit my old stomping ground and, of course, catch a Springsteen show. Or two, or three. The first show I saw was in the Sunshine State, almost a decade ago. There with me that night was my friend and fellow tramp, "Bucky". We also caught the Vote for Change tour together in Orlando in 2004, just five years ago. There we were, two single guys, no wives, no kids, no real responsibilities. Rather, we were somewhat irresponsible, reckless, young(er). Neither he nor I imagined that five years later we'd both be married, me with child, both of us with different careers. For those very reasons, getting together and seeing Bruce and the band has become increasingly tough for us as the years have passed. However, with his wife on the west coast and mine back home with our daughter, we got the chance to hop into Doc Brown's DeLorean--not just to reminisce about our glory days, but tonight, we'd relive them.

Unfortunately we began the evening swimming in to the building, as the weather for the better part of the afternoon and early evening was similar to what you'd find in the Amazon.... on a bad day. As a result, the arena filled up rather slowly as the soaked fans squeegeed themselves. Finally, 33 minutes later than the previous night in Tampa, the lights go out. I'm not sure if it was the increased anticipation due to the rain delay, the electricity in the building, or that it was simply Bosstime. Whatever it was, we found ourselves in the stratosphere.

"Working on the Highway" with Bruce out in the crowd was a crowd-pleaser and a great opener in my opinion, really helping Bruce establish a connection with the crowd right out of the gate. A disappointing audible of "Cover Me" soon replaced "It's Hard to Be a Saint in the City." I didn't care for it in this slot, certainly not when it's replacing "Saint"; that said, it was well performed and the sound was excellent. "Sherry Darling," by request, was up next, but first Roy, Charlie and Nils needed a little time to strap on their accordions. Time for two accordion led interludes, including "Hava Nagila." Gut Yontif! Clarence revealed himself as a closet guitar player, showing his skills as he mirrored Bruce's abrupt strums to close out "Seeds." As always, the transition from "Seeds" into "Johnny 99" was perfect. The "Factory" that followed might have been a momentum killer, but it was a haunting masterpiece.

Next up, the sign requests. First was "Be True," with Roy delivering a perfect performance through out. "Cadillac Ranch," sometimes bashed for being overplayed, really worked great--the crowd ate it up. The considerably rarer "So Young and in Love" has now made two appearances in Florida; tonight's was not quite what it was in 2002. But after a less than stellar start, they sorted out the arrangement and closed it in grand fashion.

"Waitin' on a Sunny Day" was entertaining as it often is. Tonight Bruce pulled a 12-year-old boy up on stage, and when it came time for the kid to sing the chorus, he was.... well, he was not good. A puzzled but amused Bruce finally got the kid to sing it correctly, and then the boy looks back to Bruce asking, "What's next?" "That's it, that's all there is!" Bruce said while cracking up.

The first epic -- and I mean epic -- performance of the evening was "Backstreets." Magical sounds poured out of Roy's newly rebuilt piano. Most entrancing was Bruce hearkening back to the Darkness tour with a taste of the often "prayed for" interlude, including the soaring cries and "til' the end"s (although it was not quite as lengthy as it was in 1978). Let's now pray that this was not a one time thing. "Radio Nowhere" was a granted request to a seven-year-old girl standing right in front of me; her sign was made from a cardboard four-cup drink holder from the concession stand. Into "Born to Run, the lights go up full blast as usual, I look over at Bucky, and he has this impossibly huge smile on his face. It's often noted that this song is played at literally every show, and sometimes that's a complaint... but if any one song perfectly defines and explains why we love this band so much and go to show after show, it's "Born to Run."

After the band takes their bows, Bruce points in my direction a few times... Wait, he's pointing at me! He makes a spinning motion with his index finder telling me to turn around. I did, and then and I saw it. A song that I have wanted to hear for longer than I can remember, so upset that I missed its modern-day return last year in St. Louis. Right there was a pink sign that read, "Then She Kissed Me," held by a teenage girl just behind the pit barrier. I grabbed the sign, made my way up to Bruce and he grabbed it. Now to play it. They key? "We think... ehhh, we'll figure it out." And figure it out they did. Unspeakably cool.

Time for the second epic of the night: "Jungleland." Most notable was Clarence's solo. Must be the home field advantage. Bruce pulled up the whole Brady bunch, it seemed, for "Dancing in the Dark." Two boys, two girls. All four of the kids--or five kids, as it seemed on this one--had a great time. The crowd really enjoyed this one.

The band takes their final bows. Fans then began to hold their index fingers up, campaigning heavily for "one more song". Bruce signals Kevin for an "F" harmonica... "Thunder Road"? Nope, he gives the harmonica to one of the Brady girls he had on stage. But wait: he asks for another "F"... and here we go. "One more song for ya!"

I've always had a special place in my heart for "Thunder Road"; me and millions of others right? Additionally, Boccigalupe, a Jersey Shore native and long time Springsteen pal, played an amazing piano rendition of it as I watched my bride walk down the aisle. So every time Bruce plays it, or I hear it, that image of Erika walking down the aisle instantly lights up like a Times Square billboard in my head. The crowd noise immediately silences as Bruce puts the harmonica to his lips, and quite possibly the most beautiful notes man has ever had the pleasure of hearing blast out. Hyperbole? Hey, it's "Thunder Road." I'm instantly torn down from the stratosphere, Times Square billboard full blast in my head, my feet finally take root in the earth. But it's alright, I love it down here.

TAMPA, FLORIDA
Saturday, September 12, 2009

Hot, Sticky, and Sweaty

By John Werning

If last night's show in Tampa is any indication of the performances that Springsteen fans can expect during the next leg of the Working On a Dream tour, then there's reason to believe. This was a concert for the ages, one in which the band and fans united to become one unstoppable celebratory force from beginning to end. Of course, I could be slightly biased -- my wife and I were facing Clarence in the front row of the pit.

As a native of Youngstown who grew up in Northeast Ohio listening to Kid Leo on Cleveland's WMMS, I had my first concert experience on December 31, 1978 during the Darkness tour. Looking back more than 30 years, I continue to be awed by the love and commitment that Bruce and the band show to their music and fans.

The show opened with "Badlands" and "Out in the Street," two crowd-pleasers that predictably resulted in an arm-waving communal sing-along on a "hot, sticky, sweaty night," as Bruce put it, in the outdoor amphitheatre. The band kept the heat coming with "My Lucky Day" (my favorite from the new album) followed by "Spirit in the Night." By this point, there was no turning back --the band could do no wrong. "She's the One" was inserted between "Outlaw Pete" and "Working on a Dream" to keep the adrenaline flowing, and the band's high-energy performances of "Seeds" and "Johnny 99" were flawless. But this was the moment where the Tampa show became one for the ages. Bruce assumed total control of the audience with riveting performances of "Point Blank," "All or Nothin' at All," "Growin' Up," and "Jole Blon" (the Cajun 'National Anthem'), not sung with the band since 1981. After two more sing-alongs with "Waiting on a Sunny Day" and "The Promised Land," Bruce and Roy performed a haunting rendition of "Racing in the Street" to perfection.

This concert contained everything that we all hope for: an incredibly uplifting experience, with rare and inspirational performances and an opportunity to connect with the band. The band's efforts to make that connection with their fans last evening, however, could have exposed them and their fans to danger. In the encore, during "Dancing in the Dark," Bruce invited some children onto the stage to dance and sing with him. Unfortunately, a few irresponsible adult members of the pit climbed onstage, too, and nearly trampled some of the kids, ruining the magical moment. They also yielded to their uncontrollable urge to disruptively touch, kiss, and hug Bruce, Clarence and other band members while the music continued to play. Although the band members handled this with graciousness, another moment in time came to mind for me--that first Bruce concert of mine back in 1978. At the stroke of midnight that New Year's Eve, someone in the audience threw a firecracker onto the stage, which exploded near Bruce's face (as briefly documented by Dave Marsh in the biography Two Hearts). The show stopped, and Bruce left the stage, only to return several minutes later to finish a heart-stopping concert with the house lights up. We became his fans forever on that night, but last evening's incident should remind us to respect Bruce and the band's space. They work extraordinarily hard to make every night a special one for us--let's not ruin it for them, or for anyone else.

I Want It All...

By Jenna Michaels

Tampa! The site of Bruce and The E Street Band's greatest national triumph, last February's halftime performance at the Super Bowl. And with tonight's show, Tampa is once again the scene of an E Street Band breakthrough: their-first-ever performance of All or Nothing at All. "A lost masterpiece," as Bruce himself described it (although maybe a little tongue in cheek) from the stage after the song's E Street debut at the Ford Amphitheater.

Sadly, material from the 1992 two-pack Human Touch and Lucky Town is rarely performed by the E Street Band. When Bruce recorded these albums, it was by himself or with studio musicians. When he hit the road from 1992 to '93 with other players, he showcased the new albums, but even then, "All or Nothing at All" was rarely performed. Now, all these years later, he creates a big "holy shit" moment by sneaking it into the setlist.

Once again, the power of the legendary E Street Bands inhabits and fulfills the spirit of the song. Familiar from the original, but with the E Street Band muscle bringing it to life: Max's power drumming, Garry's finesse on the bass lines, great guitar solo by Bruce. They wandered a little at the bridge, but it sounded great, fresh, and fun. I never imagined hearing this one live. I've heard and read many repeat show-goers complain about the lack of a challenge to the audience with newer or more obscure album tracks. I'm not sure I've felt the same way, but hearing what the E Street Band could do with this one drove the point home.

Playing "All or Nothin' At All" in Tampa was just a peek into what Bruce and the Band can do with this material. I'm now dying for more tracks from Lucky Town or Human Touch in the sign segments--or anywhere else in the show for that matter. Heck, he could even play the entire Lucky Town record (as he is doing with Born to Run in Chicago and Nashville)! I, for one, would buy a ticket and hit the road again just to hear those songs with the E Street Band flavor. Bring it on, Boss!

MANSFIELD, MASSACHUSETTS
Sunday, August 23, 2009

Hot August Night

By Mark McLemore

Bruce and the E Street Band, hotter than the August night. New England all hot and bothered. Downtown Boston crazy with a Yankees/Red Sox baseball game, and Mansfield just a mere 45 miles away made insane by Bruce Springsteen and the E Street Band.

Bruce once again mixes up the opening with "Night," and the crowd roars in response to Clarence's raging sax. After "Outlaw Pete," "It's Hard to Be a Saint in the City" is the night's first big surprise. "Saint" gives us a flashback to the Magic tour, an electric guitar duel between Bruce and Steve with an intensity that rivals any of last year's "Gypsy Biker" face-offs. Bruce leads and Stevie follows with lightning fast hands, dripping sweat, ripping chords from their guitars.

"Independence Day" provides the introspective intensity like last night's "Point Blank." Bruce's vocal is particularly intense and edgy, Roy's piano taking the forefront and Bruce stoking single notes during the beautiful bridge.

"Heatwave" is the vamp song while Bruce gathers the signs--sadly, it's only played as instrumental. Next up, "I'm Goin' Down" whips the crowd up again. Then the real fun: the band can't decide what key the next song is in, finally Bruce "gets" the chorus and they break into the Chuck Berry classic "You Never Can Tell." The smiles on the band's facesbroaden as their confidence grows and they rock it out. The last sign spot recreates the "I'm Goin' Down" single, with the B-side "Janey, Don't You Lose Heart." Once again the band takes a moment beforehand, with a vote of confidence from Bruce: "We know these... but we don't know them right away!" "Janey" has always one of my favorites, more special to me because friends of mine recently lost their teenage daughter to cancer. When I had one of those don't-know-what-to-say moments, I told them about the lyrics to "Janey."

The remainder of the set rolls with "The River," with Bruce's beautiful vocal and falsetto at the end, and then "Lonesome Day" and "The Rising." Bruce and the band deliver as always, and the music washed away my all emotions with "Born to Run" and a killer encore set that just wouldn't stop. "Girls in Their Summer Clothes" sounding great, better than before. "American Land," with it's Celtic rhythm, has the crowd's Boston Irish population dancing in the aisles. "Twist and Shout" into a free-form "Hang on Sloopy." Another twist with "Growin' Up," and still the crowd would not give up on the band, practically forcing them into one more song--a great sing-along on "Hungry Heart." The crowd shuffled to the parking lot, everyone hot and sweaty, hoarse from singing and cheering, amazed by what they've seen. Then to the car radio to see if the Sox won... now that's a summer night.

MANSFIELD, MASSACHUSSETTS
Saturday, August 22, 2009

Boston's Burnng Love

By Adam Hurtubise

Hurricane Bill held off until after the concert, and the fans jamming the Comcast Center for night one of a two-night stand seemed more like a second-night crowd. Springsteen rewarded the faithful all evening with a mix of rarities and covers. The setlist seemed loose and improvised all night, and it made for a terrific show. Right out of the box, Bruce and the band exploded into "Jackson Cage," and then right into a spectacular "She's the One," with Max thundering on the Bo Diddley beat.

Adding to the fun, mixed-up feel, Bruce donned his "Outlaw Pete" cowboy hat and his black acoustic guitar for a rollicking "Working on the Highway." Shouting, "Let's keep the hits coming," he launched into a singalong "Hungry Heart" and a ferocious "Outlaw Pete." "Badlands" didn't appear until the sixth slot, followed by "Working on a Dream," "Seeds"—with the Boss showing terrific fretwork—then a raucous, bluesy "Johnny 99."

A note-perfect "Point Blank," with stellar work from the Professor, was the first mindblower of the set. In the requests section, "Burning Love" was pure fun, and "For You" was another reward for an audience into almost every note. An intense, angry "Trapped" had the entire crowd worked into fist-pumping fury, and "Waitin' on a Sunny Day" featured a solo from a girl of about seven in the general admission pit. Nobody seemed to care that she got the words wrong.

Bruce's harmonica solo highlighted "The Promised Land." To follow, after a request from Tom, seeing his 224th show, dedicated to Ingrid, was a full-band version of "If I Should Fall Behind." That served as the perfect intro to a stunning, poetic "Backstreets," the night's highlight.

"Lonesome Day," "The Rising" and "Born to Run" set up an operatic rendition of "Rosalita," and then the most unusual request sign of the night: an inflatable sex doll. After explaining that Steve had quite a few of those at home, Bruce pointed out the doll's devil horns and blue dress and launched into the "Detroit Medley."

"Hard Times" and "American Land" opened the encores, and then Bruce danced with a young girl for "Dancing in the Dark." "Born in the U.S.A." shook the rafters and featured extraordinary bass work from Garry Tallent. "Twist and Shout" closed out the show at just under the three-hour mark, with most people wondering how Bruce and the band could possibly top the first night's setlist on Sunday.

HARTFORD, CONNECTICUT
Wednesday, August 19, 2009

Spirit and Sweat

By Lou Masur

Springsteen and summer, spirit and sweat. On a sultry night in Hartford, Bruce and the band started the final leg of the Working on a Dream tour at an outdoor venue. With no seats on the side or behind the stage, a mega projection screen appeared behind the band and it was put to various uses, providing images to accompany songs and at times a full projection of the musicians that had the effect of making the sound seem even more thunderous.

The pulsating images were especially effective during "Outlaw Pete," a song that comes early in the set. The pictures of cacti and mountains added to the cinematic quality of the ballad and then, at the end, Bruce was projected onto the screen with a lens that made him appear as if he had stepped out of a nineteenth-century nickelodeon. It was a stunning effect that gave the song added vitality.

During "Spirit in the Night," Bruce sat singing in the front of the pit. A fan with a sign—"Free Cold Beer"—had Bruce do a few dramatic double takes. He then went over, grabbed a cup of beer, and chugged it down. It was a sweet moment, yet another reminder of the joys of summer.

Bruce had two weeks off since playing the last of his European shows, and I was hoping he would re-jigger the set, but it moved along fairly predictably, admittedly with blazing solo guitar work on "Seeds" and a rearranged "Johnny 99." I was expecting "The Ghost of Tom Joad" next, but Bruce launched into an explosive "Murder Incorporated" instead. And from here on the set soared; sweat poured off band and fans alike. "Something in the Night," which followed, is one of the masterpieces of the Springsteen canon, and somehow, with Bittan's piano, Weinberg's drums, and Springsteen's vocals, on this ninety-degree night it gave me chills.

And then the stump-the-band portion of the show. What made it particularly thrilling on this occasion was the extended banter as Bruce and his fellow musicians tried to figure out bridges and keys. "Mountain of Love" was great to hear, and it brought devotees back to the legendary Main Point show in 1975. The band almost decided they couldn't do Manfred Mann's "Sha La La," but they gave it a shot and the result was pure joy, a reminder of the early rock roots of Springsteen's own sound.

The three-pack of "I'm on Fire," "Be True" (which led to a humorous onstage discussion of why he had left it off The River), and a scintillating "My Love Will Not Let You Down" shifted the show higher yet in intensity and theme.

"American Skin" came as a surprise, and while it altered the dynamic of the set to that point, it also served as a reminder that Springsteen's music is about much more than the search for love—it is also about what it means to be an American and our responsibilities to build a just community for all. "American Land," in the encore, served as a worthy bookend.

Bruce and the band closed the main set with "Born to Run" (with distinct pulsating bass lines from Garry Tallent), "Rosalita," and "Thunder Road" (an audible). There are no words to describe this. It is why I have been going to shows since 1973, when I first saw Springsteen open for Chicago, and why I keep going back—to feel alive, to feel connected, and, outdoors on a hot summer night, to feel sweat pouring off my body.

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