Showing posts with label bruce springsteen and the e street band. Show all posts
Showing posts with label bruce springsteen and the e street band. Show all posts

December 3, 2012

Bound for Glory

Bruce Springsteen and the E Street Band
Rose Garden Arena
November 28, 2012

(Top and bottom photos by Mary Layton, center photo by Eric Layton; click to enlarge)
"I said this train...dreams will not be thwarted...this train...faith will be rewarded!" assured Bruce Springsteen in his concert opener, "Land of Hope and Dreams." In a world where trials, tribulations, and loss are too commonplace, this New Jersey hero and his music continue to summon a gravitational pull of encouragement. There have been inspirational figures throughout history—beacons of light that remind us to persevere. It's in this archetypal position that Springsteen finds himself; as his legend deepens over the years, and as newer generations are drawn to his communal uplift through strife-scarred yet hopeful anthems and songs of unabashed joy, it is difficult to name a peer of his not only doing what he does, but doing it so smashingly. At the Rose Garden, facing another screaming multitude that is just another day's work, "The Boss" lived up to his almost saint-like expectations, delivering over three hours of hope, reflection, and fun.


Touring in support of their new album Wrecking Ball amid an election year, the Jersey Shore-devastating hurricane Sandy, and continuing economic turmoil, Springsteen and the E Street Band (guitarists Stevie Van Zandt and Nils Lofgren, drummer Max Weinberg, pianist Roy Bittan, bassist Garry Tallent) honored their mission and recognized their fallen brothers, saxophonist Clarence Clemons and keyboardist Danny Federici. And as Springsteen's lyrics often remind, no one walks alone, so 11 additional musicians were on hand, including Clemons' talented sax-playing nephew Jake, to help raise spirits and the roof.

With the large head count onstage, not to mention the high amount of energy exchanged between the audience and the performers on this night, it must be observed that Springsteen's concerts, taken historically, just don't achieve parity with this 2012 show. That's not at all to say this is the best tour he's done, it's just that the current Springsteen live experience is a vastly different, more immense animal than in the past. It is a more frequently joyous communion now, in contrast to earlier periods where the reliable rock n' roll party was often acutely tempered by a purposeful, singular, and serious vision being telegraphed from the stage: there was the prove-it-all-night, walk-on-tables seaside bar band era; his redemptive mid-1970s arena takeover after Born to Run; his college auditorium tour for Darkness on the Edge of Town, an album born out of creative and legal struggles; his mercenary Born in the U.S.A. global takeover; his dark, contemplative solo tours behind Ghost of Tom Joad and Devils & Dust; his E Street reunion tour/rock n' roll revival of 1999-2000; his solemn post-9-11 trek forThe Rising; the Seeger Sessions Band folk hoedown; and the late-2000s Magic tour which, while expectedly euphoric at turns, at certain points dutifully referenced stacked bodies of war dead and "the bitter fires of the devil's arcade."


In 2012, Springsteen could have understandably turned the gloom dial to 11 in response to our times, and particularly due to the landscape-altering death of the larger-than-life Clemons, whose absence onstage, and how Bruce would address it, weighed mightily on every fan as they anticipated the E Street Band's future. An answer to this came on this night during "My City of Ruins," a gospel-tinted number where Bruce asked us all to remember our dearly departed, and, to stirring effect, he turned the Clemons-referencing lyric from another song, "The change was made uptown..." into a brief mantra. Ultimately, a pair of spotlights shone down on empty spaces that both Clemons and Federici once filled. It was a heart-rending moment that urged healing and gave both the entire Bruce juggernaut and his audience permission to live on and move on, if for nothing else to honor the dead.

Indeed, life and movement were in order here, with many exhilarating sing-alongs (a brisk "No Surrender," the swelling, horn-driven "Spirit in the Night," the insistent "Badlands"), fresh new material (the punchy reminder "We Take Care of Our Own," the Irish folk stomper "Death to My Hometown"), and the pensive, solo-Bruce highlight "If I Should Fall Behind." The Wrecking Ball ballad "Jack of All Trades" found Springsteen singing "There's a new world coming, I can see the light/I'm a jack of all trades, we'll be alright," lyrics that distill the man's entire ethos in short order.


And any air of separation between fans and artist? Left at the door. Springsteen crowd-surfed during "Hungry Heart," and when he wasn't literally playing Santa Claus and wearing a red hat (the seasonal imperative has them playing "Santa Claus is Comin' to Town"), provided Santa-like wish fulfillment to several lucky fans by heeding song request signs (The River-era songs "Drive All Night" and "Loose Ends" were the finest of these) and by pulling a virtual Courtney Cox dance troupe onstage during "Dancing in the Dark"; it's a safe bet that Cox could have never predicted that her awkward dancing with Bruce in a music video would still be reenacted 28 years later.

The E Street Band origin story "Tenth Avenue Freeze-Out" ended the show with the Boss on a center-arena catwalk and a dramatic pause/video tribute to Clemons prior to Springsteen's famous shout-out, "When the change was made uptown/And the Big Man joined the band..." Big Man is no longer onboard, but this train is still racing toward glory.

October 8, 2009

Bring on Your Wrecking Ball

Bruce Springsteen and the E Street Band
October 2-3
Giants Stadium
East Rutherford, NJ

"We are here tonight to uphold our solemn vow... to rock the house!!!" shouted Bruce Springsteen at Giants Stadium to a thundering ovation from the locals. This is a nightly declaration by the Boss, and the second and third shows of a five-night homecoming stand in New Jersey were no exception. What was exceptional about this run was the fact that these were the final Springsteen concerts at the soon-to-be-razed venue, not to mention the legend's decision to perform one of his classic albums in its entirety each night. This plan found the E Streeters substituting their usual ad-hoc set list with a structure that might have thrown lesser acts off-kilter. But this is the mighty E Street band, and their effortless balance of formal song sequences and capricious, Jersey bar band looseness made this pair of shows exhilarating successes.

The opening salvo of tunes on October 2 featured the brand-new Giants Stadium valentine "Wrecking Ball" ("Bring on your wrecking ball," Springsteen sang with defiance, a sentiment seemingly aimed at both the venue and his ageless self), the brassy "Tenth Avenue Freeze-Out" and the apparent beer/bathroom opportunity "Working on a Dream." Then, Springsteen and his cohorts dusted off Darkness on the Edge of Town, a thematically dead-serious song cycle that is a bit ambitious to tackle in a football stadium. While certain tracks from this LP, a favorite of die-hards, are rousing Boss concert staples ("Badlands," "The Promised Land," "Prove it All Night"), it was unclear whether melancholy deep cuts like "Factory" and "Racing in the Street" would play to the upper decks. But perhaps unsurprisingly, the group delivered the album with a vigor and sense of pride that made it work completely. From "Badlands" to the closing title track, the highlights included Springsteen's white-hot fretwork on "Adam Raised a Cain"; an affecting "Racing in the Street," which gave Roy Bittan's piano work a lovely showcase; a knockout take on the rarely-played "Streets of Fire"; and Nils Lofgren's dazzling spotlight moment during "Prove it All Night," which was less a guitar solo than an exercise in sonic arc welding. At the end of the album performance, the Boss proudly gathered up the specific members of the band that were responsible for putting it on wax, which was an appropriate moment of acknowledgement, especially for the late E Streeter Danny Federici.

Following Darkness came light in the form of the upbeat "Waitin' on a Sunny Day," which found Bruce jumping in the stands and enlisting a young girl to sing the chorus while her dad held her, to massive applause. It was a terrific move, and a significant one: Springsteen's chance to climb off the messiah pedestal his fans place him on and unite most directly with his audience. That interactivity continued with the nightly request segment of the show, where the Boss collects hand-made signs from the audience that beg for obscurities and covers. Tonight, hopefuls holding up their placards for "I'm Goin' Down," the sweetly romantic Tracks nugget "Be True" and Elvis' rollicking "Jailhouse Rock" were the lucky winners. And as is the norm for Springsteen, medicine is to be taken with the sugar, so the overdue reappearance of Magic's "Long Walk Home" (complete with an impassioned vocal by Steven Van Zandt) and an exultant rendition of "The Rising" set the expected equilibrium.

Speaking of balance, the powerful enthusiasm of the cross-generational New Jersey multitudes was just as weighty a factor at Giants Stadium as the Boss himself. Singing along to every song, waving and throwing their arms in unison, and generally suffering from mild hysteria, they somehow imparted an even more mythic status upon Springsteen than he already carries on a normal day. Witnessing that level of hero worship amid impeccable performances of standards like "Thunder Road" and the house-lights-on, everyone-go-crazy cue of "Born to Run" is that most rare of concert experiences, a reminder of the power, glory and promise of rock n' roll. To conclude Night 2, the "liberate ya, confiscate ya" tilt-a-whirl of "Rosalita" sent tens of thousands happily into the rainy Jersey night.


The third installment of Springsteen's fiver at Giants Stadium offered a complete performance of Born in the U.S.A., a populist favorite album from 1984 that catapulted the Boss into household name territory. While this may have looked like a coup for casual fans -- the chance to hear the Boss' biggest radio and MTV hits, such as the title song and "Dancin' in the Dark" -- in these parts, there are no casual fans. For the assembled faithful, it was all about hearing these tracks in sequence, as well as blue-moon live selections like "Cover Me" and "Downbound Train."

Despite this officially scheduled main event, Springsteen, the ultimate showman, still knows how to surprise. During "Hungry Heart," (which has devolved into rote, if lighthearted, audience karaoke) he leapt into the pit at midfield and bodysurfed all the way back to the stage without incident. It would have been a nice "remember-when" story for all these Jersey folk to tell their kids someday, if they didn't already have all their kids in tow.

That stunt pulled off, Springsteen and company delivered Born in the U.S.A. An impactful, if not quite as emotionally rewarding suite as the previous night's Darkness on the Edge of Town, this album performance was both bracing (the haunting "I'm On Fire" sat Bruce at the edge of the pit, while teenage girls in front of him fawned -- that's sex appeal at age 60, folks) and tentative ("Cover Me" sorely lacked the punch it has on record). Still, this Saturday night party got jumping with carefree rave-ups like "Darlington County" and "Glory Days."

With yet another record covered, it was time to cover someone else per audience request: the live rarity/Tom Waits-penned "Jersey Girl," a tender ballad that found every tongue in the stadium singing its "Sha la la la la la la" chorus. The early E Street R&B pressure cooker "Kitty's Back" followed, with the fireworks-punctuated Irish stomp of "American Land" not far behind. By the time the holy benediction of "Thunder Road" hit the warm autumn air, this night we were free, and Bruce's vow wasn't broken.

Bring on the wrecking ball.