Posts Tagged ‘Bruce Springsteen and the E.Street Band’


December 29th, 1980 Night two of the legendary three-show stand at Nassau Coliseum 1980 is a barnstormer. It features the tour premiere of “Night” as the opener and, in its lone River tour performance, an extraordinary “Incident On 57th Street” into “Rosalita” to close the set. Spanning 35 songs, Nassau  29th beautifully blends deep River cuts (“Stolen Car,” “Wreck on the Highway,” “Point Blank”), seasonal nuggets (“Merry Christmas Baby” and “Santa Claus Is Coming to Town” and fan favorites (“Fire,” “Because the Night”).

One of the most thrilling times to be a sports fan is when your team is in the midst of a winning streak. They occur in all sports, but in baseball and especially basketball, winning streaks are irresistible because of the unique way they place team chemistry, a “never give up” mentality, and moments of individual brilliance against a backdrop of ever-rising stakes. Who doesn’t want to tune in to see if your team can push their streak to 17, 21, or 33 in a row?

It could be argued that the entire live performance history of Bruce Springsteen and the E Street Band is one long winning streak. That acknowledged, and with the benefit of hindsight and live recordings, fan consensus has coalesced around notable E Street streaks: the last two weeks of the 1977 tour with the Miami Horns; the late-’84 stretch of the Born in the U.S.A. tour.; and the final U.S. leg of Magic 2008 to name but a few.

The River tour boasts a few of its own streaks, and without question, Thanksgiving to New Year’s Eve 1980 is among the best of them. A staggering run of shows throughout the Northeast culminated in a three-night stand at the Nassau Coliseum on Long Island. With his first chart-topping album and a Top Five single (“Hungry Heart”) in hand, Bruce and the band closed out 1980 more popular than ever.

Shows that wrapped that leg of the tour offered an intoxicating mix of musician-athletes performing at their peak, newfound confidence drawn from a long-awaited commercial breakthrough, and a continued hunger to prove it all night.

Supporting a double album of new material, that hunger was manifest in the increasing duration of the concerts and the stunning number of songs performed. In fact, until records were broken in 2012, the late-’80 River shows were the longest of Bruce’s career. Other shows and tours have their own distinct qualities, but if you are talking about a run of epic Springsteen concerts, the Thanksgiving-New Year’s ’80 streak is the reference point.

Nassau Coliseum 29/ 12/80 and its sister show 31/12/80 (reissued in a newly remixed and remastered edition) each stretch to 35 or more songs and live up to the legend of Bruce’s four-hour concerts by running close to that (counting the between-sets intermission). There may be other eras where the band played this well, but there is no period where they played better.

Both stunning performances are packed with delicious rarities along with some of the strongest versions of core material ever caught on multi-tracks. With a bounty of more than 70 songs between the two shows, there’s too much good stuff to cover, but here are ten things to listen for as you relive these magical nights.

1.Springsteen debuted his brilliant take on Creedence Clearwater Revival’s “Who’ll Stop the Rain” three shows earlier at Madison Square Garden. It has endured as one of the band’s finest covers, popping up a few times on tours ever since. The versions performed on 29/12 and 31/12 are musically rich and heartfelt, pointing to the musical direction Bruce would explore six months hence on the band’s first proper tour of Europe.

2. Having just read Joe Klein’s biography of Woody Guthrie, Bruce covers “This Land Is Your Land” for the first time during the three-show Nassau stand, calling it an “angry song…an answer to Irving Berlin’s ‘God Bless America’.” With the possible exception of a one-off performance of Bob Dylan’s “Chimes of Freedom” in 1978, it is the first protest song Springsteen performed in concert with the E Street Band and signals the start of his public turn toward social and political commentary.

3. The paternal pairing of “Factory” and “Independence Day” on 29/12 is not only an evocative stretch of storytelling, but could pass for a dramatic monologue at a Broadway theater.

4. One of the signature sequences of early River tour shows is Roy Bittan’s mini-suite of “The River” into “Badlands.” 1980 performances of “The River” start with an original piano prelude (echoed by Danny Federici) before Bruce’s plaintive harmonica wail starts the song formally. Shortly after “The River” ends, Bittan starts into his interpretation of Ennio Morricone’s theme from the Sergio Leone filmOnce Upon A Time In The West. As Bittan plays the moving piano refrain, electric guitar chords start to chime in, building energy that crescendos when the intro gives way to an explosive “Badlands.” Magnificent.

5. The River tour is the height of Stevie Van Zandt’s role as backing vocalist, at times reaching the point of co-lead vocals. He’s a marvel at these shows on expected songs like “Two Hearts” and “Prove It All Night,” but listen for him in more unexpected places like the chorus of “Thunder Road” for signs of just how into it he is at Nassau.

6. Bruce’s spirited vocal on “For You” is full of fresh intonations distinct from other renditions.

7. The earnest story that leads into “Stolen Car” on 12/29 might melt your heart; the moving performance itself will have you reaching for a tissue or three.

8. The gorgeous, stripped-down arrangement of “The Price You Pay” on 31/12 starts solo. The band joins softly in the second verse, and we’re treated to the alternate third verse found in the single-disc version of The River included in The Ties That Bind box set. As good as it gets.

9. While we’ve heard the incredible version of “Incident on 57th Street” from 29/12 before (it was released as the b-side to “War” from Live 1975/85), hearing it in context of the show is so much sweeter. “This is a song we haven’t done in a real long time,” says Bruce, as he tests out the chords on his guitar. “No, it ain’t ‘Kitty’s Back.’ I hope I remember all the words….” Roy tinkles out the first few notes, the crowd swoons in recognition of the song, Max comes with his drum intro, and the lead guitar sends us soaring. If that wasn’t enough, after nearly ten majestic minutes, it rolls straight into “Rosalita” as it does on The Wild, the Innocent & the E Street Shuffle.

10. You want rarities? We got rarities. Beyond the aforementioned, the Nassau shows feature “Rendezvous,” the first-ever version of the “Hungry Heart” b-side “Held Up Without a Gun,” sublime seasonal nuggets “Merry Christmas Baby” and “Santa Claus Is Coming to Town,” plus Happy New Year covers of “In the Midnight Hour” and “Auld Lang Syne.” All that, plus 15 of the 20 songs on The River, including the under-played “Fade Away,” “Wreck on the Highway” and “The Price You Pay.”

A Final Note: Jon Altschiller’s new mix and mastering on 31/12/80 moves the listener from the 40th row to the first, proximity that reveals incredible new detail and musical power.

After electing to Plangent Process 29/12/80 for release, it was clear that 31/12/80 also deserved a Plangent-transferred new mix and mastering to match, as the version released in 2015 was not up to the same standards.
While the Plangent Processed and remixed version of 31/12/80 is being sold as a standalone release, anyone who bought the original can access the new upgraded audio for free via the “My Stash” section of the app, which provides streaming access to all shows purchased as downloads or CDs (no subscription required). Previous buyers of New Years Eve ’80 can log in with the account credentials they used to buy the show the first time.


December 31st, 1980 For the first time, multi-track master tapes of the classic New Year’s Eve 1980 show have been transferred via Plangent Processes and newly remixed by Jon Altschiller for superior sound. This upgraded edition breathes fresh life into a jaw-dropping 38-song performance which is packed with highlights, including “Spirit in the Night,” “Rendezvous,” “Fade Away,” “The Price You Pay,” “Held Up Without a Gun,” “In The Midnight Hour,” “Auld Lang Syne,” “Twist and Shout” and “Raise Your Hand.” The all-time fan favorite has never sounded better.

The Band:

  • Bruce Springsteen – Lead vocal, guitar, harmonica; Roy Bittan – Piano, keyboards; Clarence Clemons – Tenor and baritone saxophones, percussion, backing vocal; Danny Federici – Organ, glockenspiel, accordion; Garry Tallent – Bass; Stevie Van Zandt – Electric and acoustic guitars, backing vocal; Max Weinberg – Drums

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Today’s the day for a new archival release from Bruce Springsteen and the E Street Band! East Rutherford, NJ 7/22/12 is available now in a variety of options including CD and digital download!

On a long, special night that rolled into his 63rd birthday the following day, Bruce dials up a spirited, 34-song set brimming with Wrecking Ball material; tour premieres for “Cynthia” and a moving “Into The Fire”; the first “In The Midnight Hour” since New Year’s Eve 1980; a rare coupling of “Meeting Across The River” into “Jungleland”; “Janey, Don’t You Lose Heart,” “Downbound Train” and “It’s Hard To Be A Saint In The City”; plus special guest Gary U.S. Bonds on “Jolé Blon” and “This Little Girl.”

Part of what draws us to Springsteen concerts is the range of emotions they deliver over the course of a single evening. Songs of hardship and heartbreak intermix with those of liberation, love, and celebration. But on occasion, the mood leans strongly in one direction. Playing the third of three stadium shows on the eve of his 63rd birthday, and following a 120-minute weather delay, Bruce was of a mind to surprise and delight his hometown fans and set the energy dial to HIGH.

When attempting to describe the E Street Band in peak tour form, as we find them here, it can be difficult to resist cliches. East Rutherford 2012 evokes “well-oiled machine,” the attributes of which are fitting: smooth, powerful, polished, built to last. Jon Altschiller’s vibrant mix spotlights their outstanding playing and grabs the listener right out of the gate, an apt choice of words, as if there were a track announcer at MetLife she would surely be shouting, “They’re off and running.”

East Rutherford 2012 opens with ten straight, dare I say, bangers, ignoring any “it’s a marathon, not a sprint” advice in an effort to rouse fans who had been waiting patiently for hours.

The proceedings commence with the open invitation of “Out in the Street,” and the band-fan partnership is further reinforced via “The Ties That Bind” before a horns-accented “Cynthia” makes clear Stevie had a hand in this appetizing 34-song setlist. Bruce calls the Born in the U.S.A. outtake a Van Zandt favorite and a little bit of “E Street from the Underground Garage,” in reference to his pal’s Sirius XM radio show and channel. Lots of rockers + lots of rarities = Stevie’s unmistakable influence.

Turns out we’re just getting started. From there, “Badlands” into a fine “Who’ll Stop the Rain,” followed by guitar-crunching versions of “Cover Me” and “Downbound Train,” and the new-album three-pack: “We Take Care of Our Own,” “Wrecking Ball,” and “Death to My Hometown.” With that, the ten-track onslaught relents, and we catch our breath during a moving “My City of Ruins.”

The pace of the show picks back up with “It’s Hard to Be a Saint in the City,” still packing plenty of heat and preceded by an abridged version of Bruce’s Columbia Records audition story. A double shot with guest Gary U.S. Bonds (in fine voice) is another special treat, and the spirit of ‘81 is in full effect for a duet on “Jolé Blon” and a Bonds lead vocal on “This Little Girl.” The latter, a Springsteen-penned solo hit for Bonds, is performed for surprisingly only the fourth time ever with the E Street Band, which played on the original sessions.

After a Seeger Sessions-inspired “Pay Me My Money Down” come more rarities. As other live download releases have shown, “Janey, Don’t You Lose Heart” is a surprisingly tricky song to nail; this is a good one, riding an excellent Springsteen vocal. After “Janey,” Bruce realizes the clock has struck midnight, which means it is now officially his birthday. He asks the crowd for his song, and a stadium full of fans sings “Happy Birthday” back to him. Then, reaching all the way back to 12/31/80 without a soundcheck safety net, Springsteen summons up Wilson Pickett’s “In the Midnight Hour,” and damn if they don’t nail it. Sure, any self-respected horn section would know those parts by heart, but one can still marvel that an audible unplayed for more than 30 years can come off so strong.

The spiritual highlight of the night is the first and only Wrecking Ball tour performance of “Into the Fire” from The Rising. With MetLife mere miles from Ground Zero, the vividly detailed lyrics resonate deeply, and the richly layered arrangement, led by Springsteen’s tender, heartfelt vocals, reminds us this is one of his modern classics.

The third reel of this epic New Jersey tale continues apace, with “Because the Night” and “She’s the One” doing heavy lifting, “Working on the Highway” keeping things loose, and “Shackled and Drawn” making sure we’re grounded, too. The denouement arrives in the precious pairing of “Meeting Across the River” and “Jungleland” for the first time on the tour. With the stage bathed in indigo light, Curt Ramm’s bold trumpet refrain and Roy Bittan’s understated piano intertwine achingly, and Bruce’s vocal is on point: rich, measured, and world-weary. The passion surges to crescendo in the ensuing “Jungleland,” and like a dramatic stage revival, the Jersey street opera remains arresting.

“Thunder Road” provides release, “Rocky Ground” solemnity, and then party mode takes over. The rest of a lively encore romps through “Born to Run,” “Glory Days, “Seven Nights to Rock,” and “Dancing in the Dark” before we get to our final memorable moment.

“The boss of bosses has just come on stage,” Bruce says by way of introducing his mother Adele. Along with his in-laws the Scialfas and other family friends, she has come out to deliver a cake and sing a proper “Happy Birthday.” The birthday party ends the only way it could, with “Twist and Shout.”

“Thanks for a memorable birthday,” Bruce tells the crowd as he walks off stage. “My mother is for rent for $2.50 an hour for parties and Bar Mitzvahs.” A pretty good joke for two in the morning, and a funny, fitting end to one of the most electrifying shows on the Wrecking Ball tour.

  • Bruce Springsteen – Lead vocal, guitar, harmonica; Roy Bittan – Piano, keyboards, accordion; Nils Lofgren – Guitar, lap steel, backing vocal; Garry Tallent – Bass; Stevie Van Zandt – Electric and acoustic guitars, mandolin, backing vocal; Max Weinberg – Drums; Jake Clemons – Tenor saxophone, percussion, backing vocal; Charlie Giordano – Organ, keyboards, accordion; Soozie Tyrell – Violin, acoustic guitar, percussion, backing vocal; Everett Bradley – Percussion, backing vocal; Curtis King – Backing vocal, percussion; Cindy Mizelle – Backing vocal; Michelle Moore – Backing vocal; Barry Danielian – Trumpet; Clark Gayton – Trombone; Eddie Manion – Baritone and tenor saxophone; Curt Ramm – Trumpet
  • Additional Musicians: Gary U.S. Bonds co-lead vocal on “Jolé Blon,” lead vocal on “This Little Girl,” backing vocal on “Tenth Avenue Freeze-Out,” “Happy Birthday” and “Twist and Shout”; Mike ScialfaPatricia ScialfaAdele SpringsteenGinny Springsteen and Maureen Van Zandt backing vocals on “Happy Birthday” and “Twist and Shout.”

Bruce Springsteen  took the stage at the Capitol Theatre in Passaic, New Jersey 40 years ago as a man on a mission to prove that he wasn’t a flash in the pan who could be washed up at just 28. that night he delivered to the 3,200 fans in attendance not merely a great show but the concert that many consider the single-best performance of his career, one captured for posterity on a WNEW-FM simulcast broadcast throughout the East Coast and recorded with then state-of-the-art video technology at the venue itself.

“I’d just recently vanished for three years,” Springsteen wrote in his autobiography, Born to Run. A dispute with his manager had delayed the release of his follow up to the Born to Run album for nearly three years, an impossibly long time in the industry at the time. “[I] had barely felt visible most of my life, and if I could help it, I wasn’t going back.”

Richard Neer was simulcasting the show that night and realized from the start that something was different. “Usually Bruce would say something before the show for the simulcast in a joking way like he was a boxer ready to take the ring.” But there was no mock Muhammad Ali on this night.

Bruce didn’t say anything that night,” remembers Neer, He was so amped up, “He just couldn’t wait to get out there. Bruce has done so many shows and many argue which one was the best one. But this one had a lot of energy. It meant a lot for him and the band to be in New Jersey. It seems ridiculous now, but then he really had to prove he wasn’t a one-album guy.” While many shows on this tour opened with a cover, Springsteen decided to begin this night with a version of “Badlands” delivered with such fiery passion that it’s hard to believe there was anywhere left to go for the remaining three-plus hours.

Springsteen shows are communal events. And the birth of that really began on this tour. His fans by then had absorbed his recordings to the point where they could participate in the show in some odd dichotomy of both choreography and spontaneity. The audience never really knew how far and exactly when Springsteen would let them venture into the show—or how far he literally would venture into the crowd. On this night, it was farther than ever before, this was after Clarence Clemens took the saxophone solo into the crowd as well in “Spirit In The Night.”

Springsteen’s story telling, now honed to the point where he can carry a Broadway show not merely with his music but his words, is in fine form in “Thunder Road,” as well as his politics and his humanity. The power of the introduction moves the crowd to a spiritual connection rarely seen in rock and roll. Suddenly, he has more than 3,000 backup singers. There’s one big stage at a Springsteen concert, especially in that period, and the audience was on it. And that would become a defining characteristic of the Springsteen concert experience.

This tour featured for the first time the two-set Bruce concert experience. The show was broken up this way, Springsteen says, so he could give the audience the new material from the Darkness On The Edge Of Town album that he felt they needed to hear, along with the then more established music that they wanted to hear.

“The live power, the strength of the of the E Street Band proved invaluable and, night after night, we sent our listeners away, back too the recorded versions of this music, newly able to hear their beauty and restrained power,” Springsteen wrote.

The “Darkness” material was so powerful live that this bifurcation soon became unnecessary. And songs from Darkness also bled into the second set. They were received with enthusiasm rarely seen at shows featuring new material. “Candy’s Room” here is the best example of this, about two hours into the show. Bruce’s restraint as he holds the artillery that he and the audience knows is coming in full fury is thrilling.

But Springsteen doesn’t want you to feel just something at a concert. He wants you to feel everything. The entire range of human emotion condensed into one, unforgettable night. And his commitment every night to delivering this has never been better chronicled.

“I want an extreme experience,” he told The New Yorker in 2006. When you leave, he wants, “your hands hurting, your feet hurting, your back hurting, your voice sore, and your sexual organs stimulated!”

“10th Avenue Freeze Out” is three hours into the show, with Bruce drenched despite playing on what Neer said was a very cold September night. But his enjoyment is palpable and infectious.

“For an adult, the world is constantly trying to clamp down on itself,” Springsteen said in that 2006 interview. “Routine, responsibility, decay of institutions, corruption: this is all the world closing in. Music, when it’s really great, pries that shit back open and lets people back in, it lets light in, and air in, and energy in, and sends people home with that and sends me back to the hotel with it. People carry that with them sometimes for a very long period of time.”

There’s no letup, with the show closer featuring fans on the stage as Bruce triumphantly exiting with a woman from the crowd strapped to his arm.

Could it really be that Springsteen’s greatest concert ever was in a former porn palace in Passaic, N.J., a site that became a venue only to fill the area void created by he closing the Fillmore East? (The Capitol declined after a Sgt. Pepper year in 1978 featuring not just Springsteen but also The Rolling Stones and The Who; it eventually closed when the then Brendan Byrne Arena was opened a few miles away in East Rutherford, ironically by Springsteen before the paint was even dry.)

Part of this show’s legacy was that it was recorded in radio quality and went on to become one of the most bootlegged concerts in history. Not to mention the video. Here it’s listed in the top spot on a very well-thought-out list of Springsteen performances. And note the live recording released by Springsteen last year was of the show at the venue the next night, featuring a revamped set list (another Springsteen innovation to keep the crowd even more on edge). Of course, the top Springsteen performance ever is no doubt a very strong contender for the best rock concert in history, too. All in an obscure New Jersey town, with Springsteen spurred on by fear of irrelevance and a desire to live out one of his iconic songs.

“Everybody’s got a hunger, a hunger they can’t resist
There’s so much that you want, you deserve much more than this
But if dreams came true, oh, wouldn’t that be nice
But this ain’t no dream we’re living through tonight
Girl, you want it, you take it, you pay the price”

Prove It all Night with the classic, searing, intense guitar work that was the hallmark of the ’78 Darkness Tour. From the 19th September, 1978 Passaic show. Play this LOUD.

Radio broadcast, soundboard tapes (all three nights in Passaic were recorded by the Record Plant’s mobile unit, both on multi-track and live-to-two track) and professionally shot in-house black and white video. Probably one of the best all-time concert recordings. Broadcast on WNEW-FM New York and nine other stations in the north-east, including WBCN-FM and WCOZ-FM Boston, WIOQ-FM Philadelphia and WIYY-FM Baltimore. Set includes great versions of “Because The Night” and “Fire,” and also includes what many consider to be the finest examples of “Racing In The Street” and “Thunder Road” ever. ”

Tracing Bruce Springsteen’s career arc from cult artist to superstar, theater to arena headliner, there’s a case to be made that a series of radio broadcasts on the 1978 Darkness On the Edge of Town tour played a significant role. The five home-recorded, fan-traded and oft-bootlegged concerts from The Roxy, The Agora, The Capitol Theater, The Fox Theatre and Winterland captured and ultimately spread the magic of Bruce and the E Street Band’s live show, and seemingly converted thousands to fill arenas two years later on the River tour.

Despite that rich history, there were no live broadcasts from the River tour, the Born in the U.S.A. tour or the U.S. leg of the Tunnel of Love tour. Which is why in 1988, after ten years of radio silence, the announcement that a portion of Springsteen’s July 3rd show in Stockholm would be broadcast live via satellite to the U.S. and the world was huge news for fans.

Like many among us, I tuned in that Fourth of July weekend and heard a potent 90-minute first set that wrapped with Bruce announcing plans to join the Amnesty International tour before wrapping the broadcast portion with a cover of Bob Dylan’s “Chimes Of Freedom” (later released on the EP of the same name). It was the first of hundreds of listens to follow.

Conveniently apportioned to fill a 90-minute cassette tape, the Stockholm broadcast joined the five ‘78 b-casts as the most played live Springsteen recordings most of us had. There was just one problem: as great as those 14 songs were, 20 other songs were played in Stockholm after the satellite feed came down, and short of a crummy audience tape, few of us have had a chance to hear the full show, until now.

Happily, this complete, multi-track recording validates what we all presumed: the Stockholm show was one of the best on the Tunnel tour, offering a passionate, hyper-focused first-set and–freed from the pressure of a global listening audience–a rollicking, playful second set and encore. Looking for a sign of Springsteen’s mood after the transmission ended? How about the inclusion of Gary U.S. Bonds’ ultimate party track “Quarter to Three” for the first time since 1981.

Fondness for the familiar first set is richly deserved. It starts with Bruce inviting the audience in the stadium and at home to come aboard with a wonderful “Tunnel of Love,” now followed by a horn-blasting “Boom Boom’ (with its unabashed sentiment of “I need you right now” replacing “Be True,” performed in this slot for most of the US leg). The brazen John Lee Hooker cover forms a bond of emancipation with what follows, “Adam Raised a Cain,” again propelled by the five-piece Horns of Love. Bruce hadn’t toured with a horn section since ‘77 and their presence is a critical component in the distinct sound and theatrics of ‘88 shows.

Because the broadcast was limited to 90 minutes, the first set showcased key Tunnel tracks, including a majestic “Tougher Than the Rest,” “Spare Parts,” “Brilliant Disguise” and “All That Heaven Will Allow.” Bruce also featured two killer non-album tracks: “Roulette,” unforgivably left off The River, but resuscitated to sound an alarm on the Tunnel tour; and “Seeds,” another take on the plight of working-class Americans and this time they’re pissed.

Perhaps the surprise highlight of the first set is “Born in the U.S.A.” Separated from its namesake tour and attendant misinterpretations, the song’s deep-seated anger is rekindled. Listen to Bruce’s shrieks of angst before Max’s drum crescendo, echoed later his own impassioned guitar solo. The story has grown more personal, too, as Springsteen adds new flashback lyrics after the final verse: “I just want your arms around me/I see the fire from the sky/I need your arms around me.” A stunning performance.

Set two is a totally different animal, but no less satisfying. I have often wondered how a seemingly long-forgotten song returns to the set, and there is no better example of this than the sudden reappearance of the instrumental “Paradise By the ‘C’” which opens the second set, after premiering four nights earlier in Rotterdam. What prompted its resurrection, after going unplayed since the Darkness tour? Sure, it suits the horns, but then again, there was no horn section in ‘78.

Regardless, it is a welcome showcase for Clarence and the Horns of Love, and sets the tone for a highly entertaining second set that milks the expanded band lineup and staging dynamics for all they are worth on songs like “You Can Look (But You Better Not Touch)” (which begins with a long, bit of musical teasing and showmanship often referred to as “Don’t You Touch That Thing”), “I’m A Coward” (Springsteen’s comic rewrite of Gino Washington’s ‘60s original) and a chock full o’ horns encore sequence of “Sweet Soul Music,” “Raise Your Hand,” the aforementioned “Quarter to Three,” and the inevitable last song for a show this joyous, “Twist and Shout.”

There are a few serious moments in the back half, among them the fine ‘88 arrangement of Bo Diddley’s “Who Do You Love?” into “She’s the One,” the first “Downbound Train” of the tour, and an unflinchingly earnest reading of Elvis’ “Can’t Help Falling in Love.” Interestingly, Stockholm ‘88 has a connection to Springsteen on Broadway in that the solo acoustic version of “Born to Run” that Bruce is currently performing was first played in that arrangement on the Tunnel Of Love tour, a fine take of which is captured here.

Stockholm ‘88 has always been a fan-favorite because of the simulcast. Now restored to full length and remixed from the master tapes, it rightly joins Springsteen’s other legendary radio broadcasts as one of the best concert recordings of his career and a great representation of the Tunnel of Love tour’s European edition.

thanks E Flanagan

Bruce Springsteen has just released two new concerts into his ever-growing list of shows available as made-on-demand CD-Rs and digital downloads at  The first  show is from February 7th, 1977 in Albany, New York and the second is from the next night, February 8th in Rochester, New York.  They are significant as no soundboards from this portion of Bruce Springsteen’s touring career have ever surfaced before, and because they also feature a song which sees its first official release here:  “Action in the Streets.”

The years 1976 and 1977 were a bit trying for Springsteen.  After the breakthrough success of Born to Run in 1975, he and the E Street Band embarked on a long tour to promote the album.  The touring was to have lasted about a year and then work was to begin on a new album.  However, Springsteen became involved in litigation with his former manager Mike Appel and was barred from entering the studio.  Therefore, in order to bring in revenue, the tours continued.

These two concerts kick off what was to become the last leg of the tour, as the various lawsuits would be settled in May of 1977 and Bruce and his band would immediately begin work on Darkness on the Edge of Town.  The Darkness song “Something in the Night” is performed both nights with alternate lyrics from the later album version.  Two songs eventually cut from the album are also featured: “Rendezvous” and “The Promise.”  “Backstreets” from Born to Run also features expanded lyrics in its mid-section.  Springsteen covers Eddie Floyd one night with “Raise Your Hand.” In addition, the soul-tinged “Action in the Streets” makes its first official release with these two recordings.  Despite being performed at every show during this 1977 tour, Springsteen never laid it down in the studio.  Springsteen and The E Street Band are joined here by The Miami Horns in a different line-up from the one that recorded with fellow New Jersey musician Southside Johnny.

These two shows come from Front of House mix tapes recorded by Chas Gerber.  There are a couple of dropouts due to the tapes being flipped during the performances.  However, between the two shows, a complete version of each song is available.  The digital transfers and restoration were made by John K. Chester and Jamie Howarth, using the Plangent Process.  The concerts have been mastered by Jon Altschiller.

It’s been just two days since Max Weinberg came back from New Zealand after the final date of Bruce Springsteen and the E Street Band’s “The River Tour,” a 13-month odyssey that featured 89 shows and some of the longest gigs they’ve ever done. But he’s still ready for more. “If Bruce called today and said, ‘We’re going to do another six months,’ I would have let out a yell of exhalation,” Weinberg says. “I’d be happy to do it. I don’t have anything to work out to where I’d say, ‘Well, I gotta think about that. …My job is to be as commanding a percussive force as I can be,” says the E Street Band drummer

Weinberg discusses the long tour, how he endures four-hour concerts at age 65, the frightening health ordeals he dealt with in recent years, and why he’d play drums for Bruce for free.

The River Tour was somewhat last minute, right?
Yeah. Bruce first called right after Halloween of 2015 and said he had an idea. We knew about The River box set coming out. He called and said, “I’m thinking about promoting it a little bit and playing some shows.” I was like, “Sure, great.” That turned into 89 concerts. That’s basically how we’ve kind of worked over the past 40 year’s or so. Plan on 15 concerts or 30, but once we get out there, it’s never 15 or 30. It’s always a lot more.

Playing The River was a tremendous amount of fun. It was challenging. One of the things I liked about it, and I think everyone felt the same, when you play something night after night you really get to dig into the material, just as an instrumentalist. My job as the drummer is to advance the story. Even now, after playing those songs for 40 years, I’m still finding ways to leave things out, which is really the aim as I’ve gotten older. Look, I’ll be 66 next month, and it’s nice to say I’m still figuring out ways to play this great canon of material in a different fashion.

I sometimes look at you near the end of the show and think, “How does Max still have the energy to keep playing like this?”
Well, I appreciate the sentiment. I don’t really get tired. It’s a funny thing. I can use a sports analogy. I’ve met a couple of the Chicago Bulls and one of the things they invariably say is that when you’re playing with Michael Jordan it’s a completely unique experience than playing with someone else. He lifts everyone else’s game. That’s really what it is with Bruce. I do plenty of other musical jobs on my own, which are fun and rewarding, whether it’s playing [with] a 15-piece orchestra or playing with a rock and soul band. But playing at that level, I don’t get tired. My body has adapted through the years, whether I had heart surgery or cancer surgery or hand surgery, my body, my doctors have realized, has adapted to the stress of having to do that for four hours.

I’ll tell you one of the things we’ve been talking about lately, how fortunate we are to be this age, all of us in the band, and Bruce as well, is being able to bring it night after night with the level of quality that we do. I think I see it in the faces of the people who are watching us, the commitment of striving to excellence night after night. That’s something we’re all extremely proud of. Nobody is phoning it in. Staying in shape is very important. I do a lot of swimming so my breath is good. Muscle-wise, I’m in shape. That helps a lot playing the drums.

Do you worry that you’re going to eventually push your body to the breaking point and that at some point this won’t be doable anymore?
I don’t think about that. I don’t play drums the same way I played when I was in my twenties. I don’t play with an equal amount of power. It’s more power since I developed the amount of finesse that I have. Unless you’re physically sick, and I have been. I’ve had major heart surgery. Major cancer surgery. Major hand surgery. Major back surgery. And I’m here to report that I feel a thousand percent great. I certainly think we’re testing the boundaries of what has been done. Certainly there are bands playing that are older than us. The Stones come to mind. I can’t think of any other band that during the course of 14 nights plays 100 different songs.

Charlie Watts has a soft touch like a jazz drummer. You bring a lot of power and that’s obviously more difficult.
Well they’re a blues band. Charlie’s influences were not rock drummers. They were jazz drummers. I was influenced by jazz drummers, but I’m a rock-era drummer. Our approach has always been very intense, going back 45 years. What you do is you let the drums, and of course today’s sophisticated sound systems, monitor systems work for you. That really helps a lot too. You develop the idea of, “We’re gonna play for four hours? We’re gonna play for an hour hours. We’re gonna play for three? OK.” Bruce is the only one who is going to decide when we’re going to stop, so I have to be ready to play longer than he can. I realized, even lately, that I don’t really get tired. I’ve got plenty of playing left in me at the end of the night. I think that’s from staying in shape, eating right, getting enough sleep and all the physical things any athlete would do

I’m not going to say that every night I’m not… The other night there was a certain bit Bruce was doing where I had to hold this roll. Normally I hold it for 16 bars. It’s a very fast single-stroke roll. It was during “Glory Days.” He held it for like 24 bars and then an additional eight bars. You go to the last note. You don’t go [demonstrates a fast drum roll with his voice] and then a downbeat. You do it the whole time. I was amazed I was able to get through it and play it and get right to the end. A lot of it is finesse, technique and a lot of willpower. Through the years, that’s what you develop is the ability to will yourself through the pain. I shouldn’t say pain. … the discomfort of certain times.

Whenever Bruce goes behind you to play to the fans behind the stage, I love watching you turn your head to an almost impossible angle to watch him for a cue.
That’s the job. That’s why I’ve been here for 43 years. The hardest thing in a band is to get everyone to pay attention. I’ve been asked through the year to talk about my audition with Bruce. One of the things I noticed after I noticed Bruce is how intently Danny [Federici], Clarence [Clemons] and Garry [Tallent], who were at my first audition, were watching him. That to me really said a lot. I had never been in a band where everyone really paid attention like that. I was 23. It was a long time ago. That really made an impression.

One moment that always sticks in my head is that 10-night stand you guys did at MSG in 2000. You could feel the emotion from the stage all over the room.
That was amazing. That whole run, I was doing the [Conan O’Brien] show during the day and taking the subway down to the Garden afterwards because it was the quickest way to get down there. We had a little rehearsal room in the bowels of the Garden because Bruce wanted to work on some tunes, which we used several nights. “Code of Silence” was one of them. We were rehearsing it 20 minutes before we went onstage in the basement of the Garden. I didn’t know they had a space like that. It was a very special tour and everybody had a good time and were happy to be playing together again and bringing it night after night. Of course, Clarence and Danny were in top form on that particular tour.

As Clarence got older, and he was the first to admit it, his embouchure, which is the musculature which creates that robust sound, started to give him trouble, and that’s the most important thing for a horn player. It’s like arthritis for a drummer. But that Live in New York City recording is a really good document of where we were at then.

What are your plans now that the River Tour is done?
I never really tour. I do a lot of playing, but it’s all for private audiences. Basically trading on my roots as a wedding and bar-mitzvah-band drummer. That’s what I do. I go and play weddings and bar mitzvahs, and that’s how I came up. I’ve got a variety of groups that I play with. One is strictly Stax and Motown oriented, 12-piece band. I have a 23-piece 1950s-style dance orchestra. Occasionally, I play with my 15-piece Count Basie/Buddy Rich–style band, playing the kind of music I loved as a kid. I indulge my hobby of real-estate investing .

You mentioned a cancer surgery. What sort of cancer and when was that?
I had prostate cancer. I’m someone that’s always very proactive about my health. I was diagnosed in June of 2011, literally two days after Clarence’s passing, and had surgery. I’m one of the lucky ones. I asked my doctor, “Did we catch it early?” He said, “Well, not terribly early.” I had some definite thoughts on the state of surgery in general, prostate surgery specifically, but most people know I had this major open-heart surgery in 2010 that saved my life.

Why did you have the heart surgery?
I was in heart failure. If I didn’t do it then there was a real good chance I’d be the guy that didn’t wake up one day. It was a timing thing. I was first diagnosed with this heart defect back when I was in my thirties. There wasn’t a lot you could do it for, so it was a watch-and-wait thing. I found a fantastic doctor, and he actually removed my heart and did plastic surgery of the heart. That was a big one. That was a 13-hour operation and six months recovery. I’ll tell you what, those brushes with … getting that close … when I play with Bruce and the E Street Band now … it was always fun, but I can’t believe I’m so lucky to be doing this, that I’m alive to be doing this. I’ll be 66 in three weeks and I’m alive to be doing this.

After those surgeries did you worry you’d never play drums again?
The heart surgery was so invasive I didn’t think I would get better at first. That’s how far down it pushes you on your ass. It was a massively invasive heart surgery. This isn’t like bypass surgery. I’m not minimizing bypass surgery, but that’s like getting a cavity filled next to this. This was intense and it took me six months to get my strength back. I lost 50 pounds. It was a life-changing experience.

The fans had no idea. They just saw you on the next tour and you looked fine.
That was in 2010. We didn’t play again until 2012. I took the big band on the road and spent several months doing that. Then I had the cancer diagnosis right after Clarence’s last week. I had the surgery on July 26th. That’s an invasive operation, but fortunately I had a great outcome and within a month or so I was ready to rock. I don’t think we went on tour until the next year anyway. I come from strong stock. I come from strong Russian people. The nickname “Mighty” I guess is apt. I just push and push and push. If I can make it up to the drums, I’m going to play my hardest and do the best I can.

It’s crazy that you never quite know when Bruce will call and say he wants to go on tour in a few months.
There’s a little myth about this. I get a little more inside knowledge. With the River Tour, it’s just [that] he had this box set. I don’t think he necessarily was planning to go out and play. I had a bunch of dates booked. So did Nils [Lofgren]. He had a whole tour. Of course, nobody is going to not do it. If he wants to do something, you do it. There’s nothing more important than playing in Bruce and the E Street Band, so you work it out. It’s a little more organized than that. There’s a lot of logistics. He’s got 100 different crew members. The River Tour was a blessing. They’re all a blessing, but that came about pretty radically. … I heard he was going to do something else, maybe something by himself, and then he decided it would be a fun thing to do.

Any idea what’s coming next?
No idea. I have no idea. I don’t even think about it. I really don’t. For me, we played the last night in Auckland. I hope we play again, but I don’t plan my life around playing again. I do what I do. So far, it’s seemed to work out. It’s up to Bruce, and if everyone can physically do it then you do it. So far, so good. I don’t think anyone walks away from any of these shows we did in the last six weeks and thinks, “Guys, it’s time to hang it up.” I think we’re breaking new ground. I think we’re like the old bluesmen that just keep playing. What else are you going to do?

Whatever leads up to playing the drums is life. When I’m seated there playing the drums, I’m 14 years old. For me, the reward is I feel like I’m 14, but I have the experience of someone that’s been doing for this 60 years. That’s a rare combination. I’m very, very lucky. I look around, I see the band, and they inspire me every night. Bruce is standing right in front of me, or he comes up and says something while he gets a drink of water and that inspires me. I hope we do something again. I have no crystal ball.

It’s quite a miracle that at age 23 you happened to respond to a Village Voice ad that changed your life to such a profound degree.
I’ve thought about that a lot. What if I hadn’t answered that ad? But now 43 years later I’ve realized, I was the guy. I was destined to get the job because of my background, and so was Roy [Bittan]. The thing we brought was what he needed and what the band needed at the time. But what would have happened to my life had I not met Bruce and the E Street Band? What would have happened to the Beatles had they not gotten Ringo? What would have happened had they stuck with Pete Best? He was a very, very good drummer. But as I think as he himself has said, Ringo was a much better drummer. Chemistry is everything.

I can’t imagine “Badlands” without you on it. It would be like a different song.
I appreciate that. Listen, that record, and a lot of the early ones, were struggles to make. We weren’t some polished studio band that was just in for another three-hour session. This was our lives. We grew up on record, all of us. Some of us were more advanced than others. I don’t include myself among them that were more advanced, but I tried my best. I played with passion. I tried to play with invention. It was a ballsy thing to play a single stroll roll through the entirety of “Candy’s Room.” A studio drummer would not have done that. It would have gotten you fired right away. But I did that and it was like, “That’s cool. Do that again.” I have tapes where its called “The Fast Song.” It didn’t have a name. The originally song was slower.

Through my TV career I’ve played with more musicians than anyone in the E Street Band, great people. There’s still nothing I’d rather do than play “Badlands” or “Darkness on the Edge of Town.” We played that the other night and it was so heavy. It was an audible. You have to learn to read Bruce’s lips onstage. I’m a pretty good lip reader and I saw “Darkness.” It also could have been something else. All I heard was the first two notes where I don’t play and I knew what song it was. As soon as he hit that, I was there. That’s the kind of thing you get from constant working at it for 40 plus years.

Without sounding hackneyed, it’s been the privilege and the pleasure of my life to play with Bruce Springsteen and the E Street Band. I came back two days ago and I’m still pretty jet-lagged, but I feel the same way I felt the night after my first audition where I was playing a Broadway show. I was living with my parents, going to college, playing club dates. I was in a variety of bands, and I didn’t know Bruce or anything about his scene. But I went up to him and said, “I don’t know who you are going to choose, but I’ll tell you what, I’ll play with you for nothing.” And that sentiment is still in force today. Of course, there’s a practical side of life that everyone has to address. But when I’m on tour and people come up and tell you what the music has meant to them, it’s just … I’d still do it for nothing. It’s unique. It’s just unique. There’s nothing like it.

Thanks to Rolling Stone

DYNAMIC LATE 1980S BROADCAST FROM THE TUNNEL OF LOVE TOUR For Bruce Springsteen, the 1980s were as turbulent as they were rewarding and accomplished. The release of 84 s Born In The U.S.A. and the quintuple live LP collection Live/1975-85 were met with the kind of success very few music artists ever achieve. Selling in excess of 50 million copies combined (and counting), their respective triumphs and the subsequent media frenzy pushed Springsteen onto rock s top table, and between 15th June and 10th August 1985, every one of his seven studio albums featured on the UK Albums Chart, the first time in history that an artist s entire catalogue had charted simultaneously. His 1980s output concluded on a surprisingly sombre note however, with the release of Tunnel Of Love in 1987, an album on which Springsteen recorded most of the instruments himself with only occasional appearances from members of the E Street Band. The tone was more subdued than his mid-decade output, reflecting on his failing marriage to Julianne Phillips through slower, reflective ballads. But, while nowhere near as successful as Born… or Live…, the record still garnered a respectable four million sales worldwide. In 1988, Springsteen and the E Street Band embarked on the Tunnel Of Love Express Tour, which further bemused his faithful audience. In comparison to the Born In The U.S.A. Tour, each show began more theatrically with the band entering to the sound of a five piece horn section. The band s usual positions on the stage were switched, and backing vocalist Patti Scialfa – whose relationship with Springsteen would be made public during the European leg of the tour – took centre stage. Spontaneous onstage antics were also kept to a minimum. Many of Springsteen’s most popular live numbers were dropped completely from his now shorter sets, replaced by a selection of B-sides, previously unreleased tunes and covers. In spite of this though, the shows were warmly received by critics and fans alike, with Springsteen s Rocking The Wall performance in East Germany on 19th July, before an audience of 300,000, becoming recognised as one of the most historically important concerts of the era. The gig included on this CD was recorded on 3rd July 88 at Stockholm s Olympic Stadium. Simultaneously broadcast across FM radio in exceptional audio quality, Springsteen mixes some older numbers – The River , Adam Raised A Cain , Born In The U.S.A. – with a selection from Tunnel Of Love, as well as playing covers from the likes of John Lee Hooker and Edwin Starr. The result, which thanks to this release can now be heard by all, is a truly dynamic, albeit unconventional, live performance by Bruce and the E Street-ers.

Bruce Springsteen, Danny Federici and Clarence Clemons of the E Street Band (1975) | via

Of the dozens of Bruce Springsteen and the E Street Band shows in Philly over the years, many are legend. The Main Point shows from 1973-1975 that earned the rocker high marks in Philly, one of the first cities around the country that embraced his music. Then there are the four shows he played at the Tower Theatre – December 27, 28, 30, 31 – in 1975 that were epic.

Bruce Springsteen played two shows at the Tower in November 1974, but fans would have to wait 13 months to see him again in Philly. On December 27, 28, 30 and 31, 1975, Bruce and the band took over the Tower Theatre for four absolutely stunning shows. It had been a little more than two years since Bruce released The Wild, The Innocent and the E Street Shuffle, and nine months before the release of Born To Run, even though songs like the title track, “Tenth Avenue Freeze Out,” “She’s The One,” “Jungleland,” and “Backstreets” had become set list staples by the time he returned to Philly in 1975.


01. Night
02. 10th Avenue Freeze Out
03. Spirit In The Night
04. Does This Bus Stop At 82nd Street?
05. Its My Life
06. She’s The One
07. Born To Run
08. Its Gonna Work Out Fine
09. Growin’ Up
10. Saint In The City
11. Backstreets
12. Mountain Of Love
13. Jungleland
14. Rosalita (Come Out Tonight)
15. 4th Of July, Asbury Park (Sandy)
16. Detroit Medley
17. Thunder Road
18. Wear My Ring Around Your Neck
19. Quarter To Three
20. For You
21. Twist and Shout / Killer Joe

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It was one of the smallest arenas ever that Bruce Springsteen  and the E Street Band played , the show was awesome and the sound was great. The video editing took weeks but it was the soundtrack which “arrived” late and made the wait even longer. But everybody agreed in the end: It was worth the wait. I have released many full show videos prior to this one but this one turned out to be the greatest video of all times. Proud and happy Olli, contributors and fans.
This upload is my first full show upload in HD and looks much better than all previous uploads but it is still far from blu-ray quality. I, like many others, prefer watching this video to any official video from 2000 or later. The official ones either have bad sound (Barcelona), are screwed up and miss on a lot of potential (Live in New York City), or are simply lazy choices (Hyde Park) that do not do justice to the world’s greatest live performer.
This is the video I watch when I want to see a show from after 1999.
A killer setlist with so many highlights: Roulette, Thundercrack, Local hero, Gotta get that feeling, Bad moon rising, Secret Garden...Wow. What a night!

Bruce seemed to be in a certain mood from the first song he belted out, and I don’t think it was from the parking tickets his tour trucks had been issued with earlier in the day. It was dark, hot and steamy, lights were flashing, the crowd had been craving this moment for months. Bruce played ‘Roulette’ with energy, passion and emotion like I’ve never seen before. The crowd around me matched it. ‘My Love Will Not Let You Down’ and ‘No Surrender’ had us jumping up and down, limbs flying, sticky skinned and red faced already, we realised this much hyped date wasn’t going to disappoint.
A slower ‘Something In The Night’ led into a haunting ‘American Skin’, even more powerful than normal in this small dark venue, with insane acoustics. We clung on to every word Bruce sang.
Bruce kept the crowd bopping and singing with ‘Hungry Heart’, where he went for a wander and treated the other standing fans to some handshakes, funny faces and microphone grabbing before a moment of “will he won’t he” (of course he will) before he launched himself backwards, crowd surfing directly over us, back to the stage where Jake was loyally waiting for him. Next we were treated to three tour debuts in a row, the rarely played ‘Local Hero’, ‘Gotta Get That Feeling’ (for Steve Van Zandt, although I can personally vouch that we enjoyed it too) before an unrehearsed ‘Bad Moon Rising’ for some fans from Spain, who’d been trailing that sign behind them across Europe. After a little bit of practice they got into key and made these two hopeful Spanish fans and the rest of us dance happily hand in hand, with beaming smiles

Another unexpected treat came from the sign request for ‘Thundercrack’, where Bruce explained that once upon a time the song had been their show stopper, when they used to open for other bands. He admitted “we may not get through the middle of it” due to it’s trickiness, but we didn’t doubt they’d manage it.
Despite getting hotter and hotter in the pit, a beautiful and quite rare ‘This Depression’ turned my skin cold, with such simple lyrics sung to us so well. ‘Because The Night’ was better than ever, before a fun ‘Darlington County’, when Bruce headed to the back of the pit again, sending fans into a frenzy of excitement.

As we started to reach boiling point, throughout the set Bruce kept returning to the pit crowd, handing out pints of his own luminous blue drink to us fans without taking any for himself. It was a simple gesture but one that has stuck in my mind. Land Of Hope And Dreams then closed the main set and marked that time in the concert when my heart starts aching, realising how quickly the time has passed.
Potentially one of the rarest songs of Springsteen’s to hear live, ‘Secret Garden’ opened the encores, shocking the crowd and prompting tears from many around me. Dedicated to fans who had travelled across Europe to see the band, Bruce promised he knew what we go through to make sure we see as many shows as we can. Almost pitch black, one light focused on Bruce as many of us heard this song for the first, and possibly the last time, live. ‘Atlantic City’ continued to keep emotions high before the band switched to their livelier numbers to start closing the show.
Despite the red face and hair now slicked back with sweat, Bruce pointed at me with an exclamation of “Burger Girl” during the next song. Wide eyed, my mouth dropped open. Gawking, I then watched as he pretended to eat a cheeseburger mid ‘Badlands’,  Arm in arm the pit jumped to the song, a celebration of spending such special times together this year.
Born To Run’, into ‘Dancing In The Dark’, the party atmosphere continued as we pushed out thoughts that our time was limited, and for many this was the end of the road. Tenth Avenue Freeze Out’, before ‘Shout’, the band’s energy continued until the very last note they played. With the E Street Band leaving the stage, Bruce returned for a stunning acoustic ‘If I Should Fall Behind’, before an equally special ‘Thunder Road’. For one of the fans I spoke to later (and many others I’m sure) this had been the very first song she’d ever seen Bruce perform live, back in the 70s.


My Love Will Not Let You Down
No Surrender
Something in the Night
American Skin (41 Shots)
The Promised Land
Hungry Heart
Local Hero
Gotta Get That Feeling
Play Video
Bad Moon Rising
Wrecking Ball
Death to My Hometown
This Depression
Because the Night
Darlington County
Shackled and Drawn
Waitin’ on a Sunny Day
The Rising
Land of Hope and Dreams
Secret Garden
Atlantic City
Born to Run
Dancing in the Dark
Tenth Avenue Freeze-Out
Encore 2:
If I Should Fall Behind
Thunder Road

This is among the best shows I have ever seen, by Bruce and any artist Ive ever seen, I’ve been following Springsteen since 1978, went to fourteen shows on the original River Tour of 1981. Since then Ive seen Bruce and his bands 118 times.This is some great footage from the Bercy Arena Paris show (One of the best venues in the world) in 2012 the whole show’s video quality is awesome.

On July 5th I went to one of the most amazing concerts I’ve been to certainly in my Top ten of Springsteen shows: Bruce Springsteen and the E Street Band live in Paris. It’s extremely rare to see someone rocking for almost four hours with not only an incredible energy, but also with such pleasure and excitement.

At Bercy, we saw The Boss give everything, even his body, when he let the audience carry him from the middle of the pit to the scene. It’s impossible not to be impressed by someone who enjoys performing so much, but when this someone is a rock legend, an extremely gifted musician, a 62 year-old men who has spent all his live making incredible music in various genres ; then you’re just blown away. Let’s not forget either that Bruce Springsteen’s band is no other than the E Street Band and this musicians are just top notch as well as great characters and performers.

Then there’s the amazing setlist, with all of Springsteen’s classics,  I won’t forget the night of the 5th of July 2012, when I saw one of the best live performances I’ve witnessed.


  1. Au clair de la lune
    (solo accordion performance by Charles Giordano)
  2. The Ties That Bind
  3. No Surrender
  4. Two Hearts
  5. Downbound Train
  6. Candy’s Room
  7. Something in the Night
  8. We Take Care Of Our Own
  9. Wrecking Ball
  10. Death to My Hometown
  11. My City of Ruins
  12. Spirit in the Night
  13. Incident on 57th Street
  14. Because the Night
  15. She’s the One
  16. Working on the Highway
  17. I’m Goin’ Down
  18. Easy Money
  19. Waitin’ on a Sunny Day
  20. Apollo Medley
  21. For You
  22. Racing in the Street
  23. The Rising
  24. Out in the Street
  25. Land of Hope and Dreams
  26. We Are Alive
  27. Thunder Road
  28. Born to Run
  29. Glory Days
  30. Seven Nights to Rock
  31. Dancing in the Dark
  32. Tenth Avenue Freeze-Out