What time is it? It's BOSS time!
29 May 2003 12:35 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
karohemdRight, proper update on the Springsteen gig:
The weather was really good, mostly sunny, not too hot. I was still glad I had my hat.
While we were still waiting in the queue, final full soundcheck came on. Almost full length versions of The Rising, Lonesome Day and the acoustic version of Born in the U.S.A. (which he didn't play in the end).
I got the spot I wanted, straight in the middle, directly in front of the mixer desk with a barrier to lean against. I settled down and watched more of the crowd streaming in and sitting down on the strange black carpauling covering the pitch. People of all ages (I'd say the oldest was in their late 50s and the youngest 5 or 6) and all kinds of life. The people around me were all older than me which made me feel a bit strange. Obviously there were also teenagers but not that many, I'd say the average was early/mid 30s. A very relaxed atmosphere.
About 6ish the crowd got to their feet and moved forward to fill the gap. More soundcheck and testing from the crew but no sign of the band yet. At that point I started to worry a bit as I calculated that if the concert started any later, I'd most likely not make it back to Cambridge. These worries soon dissipated as I thought I'd still make it back to London in time and could crash at EvilHQ. Hey, I even considered camping in a doorway or something to wait for the first train in the morning because there was no chance in hell I would miss any of the concert.
And then, finally, a bit after 7, the lighting crew went up the ladders and ten minutes later, the band appeared one by one getting cheered on by the audience. I think apart from Bruce and the Big Man, Little Steven got the loudest. They got to their positions and off they went on a rollercoaster ride that would only end three hours later.
The sound was probably the best I've heard at an open air concert, not too loud but loud enough so that the audience singing along didn't drown the band.
There were two huge screens to either side of the stage with a perfect picture (these things have come a long way). Unfortunately, there were a couple of tall people in front of me so I never had a clear view of the stage but it was good enough to see what was going on with the screens provided close-ups, always on the centre of attention.
Song (Album)
1. The Rising (The Rising)
The title song of the new album. This track is growing on me more and more the more often I hear it and they played it brilliantly. The chorus sung in harmony by Bruce and Steve utterly threw me away as I'd been waiting to hear that live ever since Summer '84 when I first bought Born in the U.S.A..
2. Lonesome Day (The Rising)
Another new song, really well performed, sounding a lot better than on the album.
3. The Ties That Bind (The River)
First trip down memory lane, this time to 1980, and the band sounded as if from that year. The full force of the E Street Band with its distinctive sound. Roy Bittan's piano, Danny Federici's organ (Hammond, of course), the harmonies, Clarence Clemons' sax.
4. My Love Will Not Let You Down (Tracks)
An older track he's been singing live in the last couple of years and which appeared on the Tracks compilation of unreleased songs.
5. The Fuse (The Rising)
Hm, one of the unremarkable slow songs from the new album but live it had quite a lot of power and sung by Bruce and Patti, it was quite haunting.
6. Empty Sky (The Rising)
7. You're Missing (The Rising)
More of the weaker songs (musically). However, both were inspired by the WTC attacks. I was very impressed with the audience who were listening intently and applauding politely afterwards.
8. Waiting On A Sunny Day (The Rising)
Back to a fun song, played on four acoustic guitars and really getting the audience going again. The first of the extended songs with lots of audience participation. I don't know how scared Bruce's guitar man is, every time Bruce throws his guitar at him after the first verse and he catches it... ;o)
9. The Promised Land (Darkness on the Edge of Town)
A classic and one of my favourite songs (and the audiences judging by the cheer and the overwhelming choir). Obvious highlight was the sax solo.
10. Darlington County (Born in the U.S.A)
First of the surprise tracks, another classic, with most of the audience singing along on the top of their voices. Very very pleased with this.
11. Worlds Apart (The Rising)
The most unusual song style wise on the new album, played brilliantly. The funny bit was the Big Man playing a pair of finger cymbals. Very cute ;o)
12. Badlands (Darkness on the Edge of Town)
Now the classics really came out in force. Another big one, no frills.
13. Out In The Street (The River)
Very similar to the version on Live in NYC, another extended classic. The really fun thing when Steve, Patti, Nils and then Clarence came to Bruce's mike to sing the title line and Nils had to get up on tiptoes and couldn't reach to the microphone (he must be tiny, Bruce isn't the tallest, either) and the Big Man had to bend downwards. Very very fun.
14. Mary's Place (The Rising)
The fun song on the new album, extended to about 15 minutes with the introduction of the band which was funny as always ("The illegitmate son of Jerry Lee Lewis and Librace: the Professor Roy Bittan!")
15. Meeting Across the River (Born to Run)
The surprise song of the set. Very quiet with the audience listening intently. This then merged (just like on the album) into
16. Jungleland (Born to Run)
One of the most powerful ballads, wonderfully performed. The choir from the audience was amazing for a song this old, considering a third of the audience hadn't even been alive when this came out.
17. Into The Fire (The Rising)
Another 9/11 song and the audience was quiet and respectful and just listened. Nobody talked, a few sang along. Nice.
18. Thunder Road (Born to Run)
The harmonica came out and it was clear what would come. The oldest song in the set, almost 30 years. Closer to the original, not pure acoustic, as he played it in '93.
19. Bobby Jean (Born in the U.S.A)
After a very short break, he opened the second set (you really can't call it encore) with my favourite track from the '84 album. It was even better than the version he played in '88 and again, during the sax solo, I cried. I don't know what it is, this song sends me over the edge every time.
20. Ramrod (The River)
And then, full on Rock 'n' Roll, Springsteen style, really bringing the house down. By the time, they had already been going for over two hours and they still had as much energy as during the first song, maybe even more. As far as I could see, people were dancin and rocking, it was wonderful.
21. Born to Run (same)
Back to '75, back to the rock and full band version. Classic.
22. Seven Nights to Rock (N/A, written by Moon Mullican, I think)
A classic Rock 'n' Roll song, just fun and party with lots of audience participation.
Another very short break, then
23. My City of Ruins (The Rising)
Orginally written about Atlantic City but 9/11 gave this song a whole new meaning, the reason why it's on the new album as well. Again, very quiet in the audience.
24. Land of Hope and Dreams (Live in NYC)
A typical song of recent years that makes you think a bit. When the song was finished, they just stood there, waiting for the audience to get even wilder, looking at each other, shaking their heads, made to leave, the audience was completely of their rocker, and then for the final encore
25. Dancing in the Dark (Born in the U.S.A)
Actually my least favourite track on that album as it was far too poppy but this new version in full E Street mode took off really nicely. Waves, bows and sincere thank yous to the audience, and he was off. I looked at my watch and it was 10:20, exactly three hours. I was utterly exhausted but my brain was buzzing with snippets of songs which wouldn't stop until the early hours of the morning.
Definitely, and without a doubt, the best concert, I've ever been to. Absolutely f*cking amazing.
Having looked at last night's setlist, I'm now almost sad I didn't take the time off and saved the money to do yesterday as well as the set was different by about five songs, including Racing in the Streets. Oh well, I had Monday and that was utterly wonderful.
Bruce "The Boss" Springsteen
Gone was the beard except for a stupid little wedge under the lip and sideburns that could have come straight off the photos in the 70s.
This man is amazing. He's 53 now but he's rocking, running, jumping, vaulting over the stage for three hours without pause in a way that would put a 20-year-old to shame. Maybe not the best, but one of the most powerful voices I know with an incredible range, both in tone and in volume.
He's really dedicated to his music and it shows. Nothing is acted, it's all completely natural. When he thanks the audience at the end of the concet, you know he means it.
"Miami" Steve Van Zandt (aka Little Steven)
After Danny, the oldest musical friend of Bruce. Ever since he left the band, the spark was gone from the E Street Band. His guitar style made the E Street Band what it is and many songs sounded empty in the times he didnt' provide the harmonies, singing along with Bruce. Trademarks: Bandana, waistcoat, ridiculous cowboy boots and hooked nose. You might know him as Silvio Dante in The Sopranos.
Nils Lofgren
In the band since '85 who joined the tour when Steve left. A brilliant guitarist and recording solo artist but he fits right in with the others. Wouldn't want to miss him.
The mighty Max Weinberg
This man can do more with a very basic, Beatle-esque drumset than any Heavy Metal drummer with hundreds of toms. The engine of the band.
Garry W Tallent (bass)
Another of Bruce's pre-E Street friends.
If Max is the engine, Garry is the fuel. Always in the background but always there.
"The Professor" Roy Bittan
"The illegitimate son of Jerry Lee Lewis and Liberace", as he was introduced as during Mary's Place. Responsible for the characteristic piano sound of the E Street Band.
Danny Federici (organ, keyboards, accordion)
Together with Steve, Bruce's oldest musical friend who has been playing with him since the late 60s. He was in Steel Mill as well. And it shows. For some reason, he was the one member who looked really old.
Patti Scialfa
She was just a backing singer who started in '85 but now is Bruce's wife and mother of his children. Unusual and haunting voice. Very very cool.
Soozie Tyrell (fiddle)
A welcome addition to the band that gave some of the old songs a new twist.
And last but not least
Clarence "Big Man" Clemons
A black hole on the left side of the stage. Sometimes you could only tell where he was by the golden shimmer of his sax as he was wearing a black three piece suit, black shirt and black hat.
The weather was really good, mostly sunny, not too hot. I was still glad I had my hat.
While we were still waiting in the queue, final full soundcheck came on. Almost full length versions of The Rising, Lonesome Day and the acoustic version of Born in the U.S.A. (which he didn't play in the end).
I got the spot I wanted, straight in the middle, directly in front of the mixer desk with a barrier to lean against. I settled down and watched more of the crowd streaming in and sitting down on the strange black carpauling covering the pitch. People of all ages (I'd say the oldest was in their late 50s and the youngest 5 or 6) and all kinds of life. The people around me were all older than me which made me feel a bit strange. Obviously there were also teenagers but not that many, I'd say the average was early/mid 30s. A very relaxed atmosphere.
About 6ish the crowd got to their feet and moved forward to fill the gap. More soundcheck and testing from the crew but no sign of the band yet. At that point I started to worry a bit as I calculated that if the concert started any later, I'd most likely not make it back to Cambridge. These worries soon dissipated as I thought I'd still make it back to London in time and could crash at EvilHQ. Hey, I even considered camping in a doorway or something to wait for the first train in the morning because there was no chance in hell I would miss any of the concert.
And then, finally, a bit after 7, the lighting crew went up the ladders and ten minutes later, the band appeared one by one getting cheered on by the audience. I think apart from Bruce and the Big Man, Little Steven got the loudest. They got to their positions and off they went on a rollercoaster ride that would only end three hours later.
The sound was probably the best I've heard at an open air concert, not too loud but loud enough so that the audience singing along didn't drown the band.
There were two huge screens to either side of the stage with a perfect picture (these things have come a long way). Unfortunately, there were a couple of tall people in front of me so I never had a clear view of the stage but it was good enough to see what was going on with the screens provided close-ups, always on the centre of attention.
Song (Album)
1. The Rising (The Rising)
The title song of the new album. This track is growing on me more and more the more often I hear it and they played it brilliantly. The chorus sung in harmony by Bruce and Steve utterly threw me away as I'd been waiting to hear that live ever since Summer '84 when I first bought Born in the U.S.A..
2. Lonesome Day (The Rising)
Another new song, really well performed, sounding a lot better than on the album.
3. The Ties That Bind (The River)
First trip down memory lane, this time to 1980, and the band sounded as if from that year. The full force of the E Street Band with its distinctive sound. Roy Bittan's piano, Danny Federici's organ (Hammond, of course), the harmonies, Clarence Clemons' sax.
4. My Love Will Not Let You Down (Tracks)
An older track he's been singing live in the last couple of years and which appeared on the Tracks compilation of unreleased songs.
5. The Fuse (The Rising)
Hm, one of the unremarkable slow songs from the new album but live it had quite a lot of power and sung by Bruce and Patti, it was quite haunting.
6. Empty Sky (The Rising)
7. You're Missing (The Rising)
More of the weaker songs (musically). However, both were inspired by the WTC attacks. I was very impressed with the audience who were listening intently and applauding politely afterwards.
8. Waiting On A Sunny Day (The Rising)
Back to a fun song, played on four acoustic guitars and really getting the audience going again. The first of the extended songs with lots of audience participation. I don't know how scared Bruce's guitar man is, every time Bruce throws his guitar at him after the first verse and he catches it... ;o)
9. The Promised Land (Darkness on the Edge of Town)
A classic and one of my favourite songs (and the audiences judging by the cheer and the overwhelming choir). Obvious highlight was the sax solo.
10. Darlington County (Born in the U.S.A)
First of the surprise tracks, another classic, with most of the audience singing along on the top of their voices. Very very pleased with this.
11. Worlds Apart (The Rising)
The most unusual song style wise on the new album, played brilliantly. The funny bit was the Big Man playing a pair of finger cymbals. Very cute ;o)
12. Badlands (Darkness on the Edge of Town)
Now the classics really came out in force. Another big one, no frills.
13. Out In The Street (The River)
Very similar to the version on Live in NYC, another extended classic. The really fun thing when Steve, Patti, Nils and then Clarence came to Bruce's mike to sing the title line and Nils had to get up on tiptoes and couldn't reach to the microphone (he must be tiny, Bruce isn't the tallest, either) and the Big Man had to bend downwards. Very very fun.
14. Mary's Place (The Rising)
The fun song on the new album, extended to about 15 minutes with the introduction of the band which was funny as always ("The illegitmate son of Jerry Lee Lewis and Librace: the Professor Roy Bittan!")
15. Meeting Across the River (Born to Run)
The surprise song of the set. Very quiet with the audience listening intently. This then merged (just like on the album) into
16. Jungleland (Born to Run)
One of the most powerful ballads, wonderfully performed. The choir from the audience was amazing for a song this old, considering a third of the audience hadn't even been alive when this came out.
17. Into The Fire (The Rising)
Another 9/11 song and the audience was quiet and respectful and just listened. Nobody talked, a few sang along. Nice.
18. Thunder Road (Born to Run)
The harmonica came out and it was clear what would come. The oldest song in the set, almost 30 years. Closer to the original, not pure acoustic, as he played it in '93.
19. Bobby Jean (Born in the U.S.A)
After a very short break, he opened the second set (you really can't call it encore) with my favourite track from the '84 album. It was even better than the version he played in '88 and again, during the sax solo, I cried. I don't know what it is, this song sends me over the edge every time.
20. Ramrod (The River)
And then, full on Rock 'n' Roll, Springsteen style, really bringing the house down. By the time, they had already been going for over two hours and they still had as much energy as during the first song, maybe even more. As far as I could see, people were dancin and rocking, it was wonderful.
21. Born to Run (same)
Back to '75, back to the rock and full band version. Classic.
22. Seven Nights to Rock (N/A, written by Moon Mullican, I think)
A classic Rock 'n' Roll song, just fun and party with lots of audience participation.
Another very short break, then
23. My City of Ruins (The Rising)
Orginally written about Atlantic City but 9/11 gave this song a whole new meaning, the reason why it's on the new album as well. Again, very quiet in the audience.
24. Land of Hope and Dreams (Live in NYC)
A typical song of recent years that makes you think a bit. When the song was finished, they just stood there, waiting for the audience to get even wilder, looking at each other, shaking their heads, made to leave, the audience was completely of their rocker, and then for the final encore
25. Dancing in the Dark (Born in the U.S.A)
Actually my least favourite track on that album as it was far too poppy but this new version in full E Street mode took off really nicely. Waves, bows and sincere thank yous to the audience, and he was off. I looked at my watch and it was 10:20, exactly three hours. I was utterly exhausted but my brain was buzzing with snippets of songs which wouldn't stop until the early hours of the morning.
Definitely, and without a doubt, the best concert, I've ever been to. Absolutely f*cking amazing.
Having looked at last night's setlist, I'm now almost sad I didn't take the time off and saved the money to do yesterday as well as the set was different by about five songs, including Racing in the Streets. Oh well, I had Monday and that was utterly wonderful.
Bruce "The Boss" Springsteen
Gone was the beard except for a stupid little wedge under the lip and sideburns that could have come straight off the photos in the 70s.
This man is amazing. He's 53 now but he's rocking, running, jumping, vaulting over the stage for three hours without pause in a way that would put a 20-year-old to shame. Maybe not the best, but one of the most powerful voices I know with an incredible range, both in tone and in volume.
He's really dedicated to his music and it shows. Nothing is acted, it's all completely natural. When he thanks the audience at the end of the concet, you know he means it.
"Miami" Steve Van Zandt (aka Little Steven)
After Danny, the oldest musical friend of Bruce. Ever since he left the band, the spark was gone from the E Street Band. His guitar style made the E Street Band what it is and many songs sounded empty in the times he didnt' provide the harmonies, singing along with Bruce. Trademarks: Bandana, waistcoat, ridiculous cowboy boots and hooked nose. You might know him as Silvio Dante in The Sopranos.
Nils Lofgren
In the band since '85 who joined the tour when Steve left. A brilliant guitarist and recording solo artist but he fits right in with the others. Wouldn't want to miss him.
The mighty Max Weinberg
This man can do more with a very basic, Beatle-esque drumset than any Heavy Metal drummer with hundreds of toms. The engine of the band.
Garry W Tallent (bass)
Another of Bruce's pre-E Street friends.
If Max is the engine, Garry is the fuel. Always in the background but always there.
"The Professor" Roy Bittan
"The illegitimate son of Jerry Lee Lewis and Liberace", as he was introduced as during Mary's Place. Responsible for the characteristic piano sound of the E Street Band.
Danny Federici (organ, keyboards, accordion)
Together with Steve, Bruce's oldest musical friend who has been playing with him since the late 60s. He was in Steel Mill as well. And it shows. For some reason, he was the one member who looked really old.
Patti Scialfa
She was just a backing singer who started in '85 but now is Bruce's wife and mother of his children. Unusual and haunting voice. Very very cool.
Soozie Tyrell (fiddle)
A welcome addition to the band that gave some of the old songs a new twist.
And last but not least
Clarence "Big Man" Clemons
A black hole on the left side of the stage. Sometimes you could only tell where he was by the golden shimmer of his sax as he was wearing a black three piece suit, black shirt and black hat.
