Sunday, March 30, 2008
Hmmmmmm
still able to pull up rear floors for the Gillette show. Sales sluggish again it seems. Can't recall the last time Boston wasn't a very tough ticket!
Seattle
looks damn good on paper
1. TRAPPED
2. Radio Nowhere
3. No Surrender
4. Lonesome Day
5. Gypsy Biker
6. Magic
7. Reason to Believe
8. Darkness on the Edge of Town
9. Because the Night
10. She's The One
11. Livin' In The Future
12. The Promised Land
13. Waiting on a Sunny Day
14. Your Own Worst Enemy
15. POINT BLANK
16. Devil's Arcade
17. The Rising
18. Last To Die
19. Long Walk Home
20. Badlands
21. 10th Ave Freezeout
22. Rosalita (sign)
23. Born to Run
24. American Land
1. TRAPPED
2. Radio Nowhere
3. No Surrender
4. Lonesome Day
5. Gypsy Biker
6. Magic
7. Reason to Believe
8. Darkness on the Edge of Town
9. Because the Night
10. She's The One
11. Livin' In The Future
12. The Promised Land
13. Waiting on a Sunny Day
14. Your Own Worst Enemy
15. POINT BLANK
16. Devil's Arcade
17. The Rising
18. Last To Die
19. Long Walk Home
20. Badlands
21. 10th Ave Freezeout
22. Rosalita (sign)
23. Born to Run
24. American Land
Friday, March 21, 2008
"Here he comes.......Here he come.......Here he comes......"
"DANNY'S BACK IN TOWN.....HERE HE COMES NOW....DANNY'S BACK IN......ALLLLLLRIGHT!!!!"
March 20 / Indianapolis, IN / Conseco Fieldhouse
Notes: Before opening with "Night," Bruce Springsteen introduced "the biggest little bar band in the world!" And tonight, they got bigger by one. Not Patti Scialfa back from tending the home fires, not yet... but the long-awaited return of Danny Federici. The first half of the show had its highlights: Bruce saying "Let me see that sign!" and using it to call "Prove It All Night" as an audible, the tour debut of "Rendezvous" as another request-by-sign. But when Danny emerged for "The Promised Land," it was a game-changing moment.
"We've got a special treat tonight," Springsteen told the crowd after "Livin' in the Future," "Danny Federici is with us!" Coming out for his first performance with the band since Boston in November, Danny gave Charlie Giordano a hug before reclaiming his old spot on the organ riser (Giordano subtly disappeared). Conferring with Danny after "The Promised Land," Bruce then stepped to the mic and said, "He's gonna make me go old school on you!" as Danny ripped into "Spirit in the Night." By this point, they were flying. And finally -- "We can't let him leave without doing this one!" -- it was "Fourth of July, Asbury Park (Sandy)," with Danny strapping on the accordion. In a seamless transition, Charlie came back in on "Devil's Arcade," taking over for the five-pack. But in the encore, Danny was back again for the rest of the show. "We're all gonna do this one and dedicate this one to Dan," Bruce said, as they began the encore with "Backstreets." That went into a phenomenal "Kitty's Back," of course another great chance for the Phantom to shine.
Now, the thing is, it's unclear how much of the crowd appreciated the gift that was Danny's presence tonight. With only 10,000 fans filling an 18,000 seater, the energy wasn't exactly through the roof as it was, and there was the sense that many in the building weren't quite attuned to what was happening. But the emotions onstage were unmistakable. During "Kitty's Back," the huge smile on Clarence's face as he watched Danny play said it all. To cap off the night, all three keyboard players were there for "American Land," Charlie coming back out to join Roy for the dual accordions, and Danny at his station on the organ. Welcome back, Dan. Hope you'll make a habit of it.
Oh, and I can't forget to mention Hannah, the little girl whom Bruce brought onstage to dance with him not once but twice on "Dancing in the Dark." A tradition worth reviving, and it don't get much cuter.
March 20 / Indianapolis, IN / Conseco Fieldhouse
Notes: Before opening with "Night," Bruce Springsteen introduced "the biggest little bar band in the world!" And tonight, they got bigger by one. Not Patti Scialfa back from tending the home fires, not yet... but the long-awaited return of Danny Federici. The first half of the show had its highlights: Bruce saying "Let me see that sign!" and using it to call "Prove It All Night" as an audible, the tour debut of "Rendezvous" as another request-by-sign. But when Danny emerged for "The Promised Land," it was a game-changing moment.
"We've got a special treat tonight," Springsteen told the crowd after "Livin' in the Future," "Danny Federici is with us!" Coming out for his first performance with the band since Boston in November, Danny gave Charlie Giordano a hug before reclaiming his old spot on the organ riser (Giordano subtly disappeared). Conferring with Danny after "The Promised Land," Bruce then stepped to the mic and said, "He's gonna make me go old school on you!" as Danny ripped into "Spirit in the Night." By this point, they were flying. And finally -- "We can't let him leave without doing this one!" -- it was "Fourth of July, Asbury Park (Sandy)," with Danny strapping on the accordion. In a seamless transition, Charlie came back in on "Devil's Arcade," taking over for the five-pack. But in the encore, Danny was back again for the rest of the show. "We're all gonna do this one and dedicate this one to Dan," Bruce said, as they began the encore with "Backstreets." That went into a phenomenal "Kitty's Back," of course another great chance for the Phantom to shine.
Now, the thing is, it's unclear how much of the crowd appreciated the gift that was Danny's presence tonight. With only 10,000 fans filling an 18,000 seater, the energy wasn't exactly through the roof as it was, and there was the sense that many in the building weren't quite attuned to what was happening. But the emotions onstage were unmistakable. During "Kitty's Back," the huge smile on Clarence's face as he watched Danny play said it all. To cap off the night, all three keyboard players were there for "American Land," Charlie coming back out to join Roy for the dual accordions, and Danny at his station on the organ. Welcome back, Dan. Hope you'll make a habit of it.
Oh, and I can't forget to mention Hannah, the little girl whom Bruce brought onstage to dance with him not once but twice on "Dancing in the Dark." A tradition worth reviving, and it don't get much cuter.
Star studded night in Indy
Danny Federici and Peyton Manning in the house last night!
Great to hear of Danny's return for some tunes last night. From the accounts on Backstreets and else where sounds like the band was thrilled to have him back. Bruce dedicates Backstreets to Dan .. he's a good egg that guy! Hopefully it continues .. a few shows when he can until he's back on stage full time. Good for him!
Happy Easter everyone........
Great to hear of Danny's return for some tunes last night. From the accounts on Backstreets and else where sounds like the band was thrilled to have him back. Bruce dedicates Backstreets to Dan .. he's a good egg that guy! Hopefully it continues .. a few shows when he can until he's back on stage full time. Good for him!
Happy Easter everyone........
Monday, March 17, 2008
Friday, March 14, 2008
Can't eat just one!
In Music Commentary
Why Springsteen still matters
For diehard fans, Springsteen shows are as addictive as potato chips. You can't stop at just one.
By Drew Olson
Senior Editor
My personal pilgrimage and patronage continue this weekend, along with the majesty, mystery and mystique; the power, promise and potential; and, of course, the questions:
"How many Springsteen shows have you seen, anyway?"
A couple dozen in eight different states, with two more coming up in a 27-hour span.
"Why do you keep going to see that guy? Aren't the shows all the same?"
They're similar in a way, the core elements don't change much and a lot of the music is similar, but each show has its own unique feel. I could explain further, but not without sounding like Frank Caliendo imitating Bill Walton: "You can hear colors! You can see the music! You can experience the explosion as artists on stage and the audience meld into one cohesive and unstoppable force capable of changing the world for 2 ½ hours... "
Let's just say I like the show and leave it at that.
"How old is that dude, anyway? Isn't he about done?"
He's 58 -- and man I hope not.
Snicker if you will (my friends and family certainly do), but this weekend I'll be driving to St. Paul, Minn., where some I'll catch up with Bruce and the E Street Band Sunday night at the Xcel Energy Center. Then, I'll head back home to Milwaukee for the St. Patrick's show at the Bradley Center.
Springsteen is touring in support of the album "Magic," which was released five months ago but already seems much older to the aficionados, many of whom (present company included) had advance copies of the disc several weeks before.
Although it was well-received by critics and fans, "Magic" certainly didn't break any records in a fractured, fragmented recording industry that is waging a losing battle against technology, its own ineptitude and consumer indifference.
But Springsteen's records -- with the possible exception of "Born in the USA," which hit stores nearly a quarter-century ago and rocketed him to rock star status -- have really never been huge commercial successes.
From his beginnings on the Jersey Shore, he's always been something of a cult figure. The fact that he refers to the E Street ensemble as "the world's biggest bar band," even when playing sold out basketball arenas or football stadiums, is an acknowledgement of that status.
In anticipation of the upcoming concerts, and the intimate gathering at which Harley-Davidson will host Mr. Springsteen and about 60,000 fans later this year, I started to question what it is that has led me to all these shows over the years.
It starts with the music. Springsteen's best songs have a cinematic quality that evoke strong and completely unique images in the minds of listeners. Even in the period when MTV and music video dominated the landscape (that's right, kids, MTV used to play videos), Springsteen's videos always seemed to augment and not override the mental pictures conjured by the music. Other bands can't make that claim. Can you listen to a ZZ Top song without thinking of the three bimbos and the red car?
I like the songs. Die-hards may argue about whether "Born To Run" is the seminal work or whether "Greetings From Asbury Park" or "The Wild, the Innocent and the E Street Shuffle" are a better 1-2 punch than "Darkness on the Edge of Town" and "The River," but just about everyone likes to see all of those albums represented at the concerts.
Ah, the concerts...
Springsteen refers to his shows as part circus, part political rally and part tent revival -- a rock and roll ministry conducted without pyrotechnics, pre-recorded backing tracks, elaborate video montages or other trappings of modern arena rock.
Although the Internet age has dulled some of the anticipation and snuffed out some elements of surprise (setlists from each night are posted song-by-song on hardcore fan sites), Springsteen manages to tweak his shows just enough to personalize them for the crowd in-house. It doesn't hurt that he's the best front man in rock, capable of drawing an ovation with a humorous introduction, dramatic pause, an arched eyebrow or a scorching guitar solo.
In most cases, he's preaching to the converted. After more than 40 years of playing shows, the band has created a legion of repeat customers. Newbies are welcome to enjoy the show and invariably leave the concert hall and spread the word. That's how the community grows and sustains itself. Springsteen's crowds skew a bit older than most crowds (the Stones and Jimmy Buffet do, too), but I've seen a lot of teenagers, some with parents, at recent shows.
Unlike the Grateful Dead, which came to town with its own traveling band of fans whose exploits were integral to (and often more interesting than) the action onstage, Springsteen shows are a front-to-back affair. The band hits the stage, usually within about 30-50 minutes of the starting time stated on the ticket, grabs the audience by the lapels from the first note and doesn't relent.
Guitarist Steve Van Zandt said the goal hasn't changed since the band were teenagers - they want to put on the best rock and roll show anyone in the audience has seen.
Some nights, they succeed. Some nights, they fall a little short. But, the journey - the singular and shared sense of purpose that emanates from the stage and pushes to the back of the arena -- is always worth watching.
Why Springsteen still matters
For diehard fans, Springsteen shows are as addictive as potato chips. You can't stop at just one.
By Drew Olson
Senior Editor
My personal pilgrimage and patronage continue this weekend, along with the majesty, mystery and mystique; the power, promise and potential; and, of course, the questions:
"How many Springsteen shows have you seen, anyway?"
A couple dozen in eight different states, with two more coming up in a 27-hour span.
"Why do you keep going to see that guy? Aren't the shows all the same?"
They're similar in a way, the core elements don't change much and a lot of the music is similar, but each show has its own unique feel. I could explain further, but not without sounding like Frank Caliendo imitating Bill Walton: "You can hear colors! You can see the music! You can experience the explosion as artists on stage and the audience meld into one cohesive and unstoppable force capable of changing the world for 2 ½ hours... "
Let's just say I like the show and leave it at that.
"How old is that dude, anyway? Isn't he about done?"
He's 58 -- and man I hope not.
Snicker if you will (my friends and family certainly do), but this weekend I'll be driving to St. Paul, Minn., where some I'll catch up with Bruce and the E Street Band Sunday night at the Xcel Energy Center. Then, I'll head back home to Milwaukee for the St. Patrick's show at the Bradley Center.
Springsteen is touring in support of the album "Magic," which was released five months ago but already seems much older to the aficionados, many of whom (present company included) had advance copies of the disc several weeks before.
Although it was well-received by critics and fans, "Magic" certainly didn't break any records in a fractured, fragmented recording industry that is waging a losing battle against technology, its own ineptitude and consumer indifference.
But Springsteen's records -- with the possible exception of "Born in the USA," which hit stores nearly a quarter-century ago and rocketed him to rock star status -- have really never been huge commercial successes.
From his beginnings on the Jersey Shore, he's always been something of a cult figure. The fact that he refers to the E Street ensemble as "the world's biggest bar band," even when playing sold out basketball arenas or football stadiums, is an acknowledgement of that status.
In anticipation of the upcoming concerts, and the intimate gathering at which Harley-Davidson will host Mr. Springsteen and about 60,000 fans later this year, I started to question what it is that has led me to all these shows over the years.
It starts with the music. Springsteen's best songs have a cinematic quality that evoke strong and completely unique images in the minds of listeners. Even in the period when MTV and music video dominated the landscape (that's right, kids, MTV used to play videos), Springsteen's videos always seemed to augment and not override the mental pictures conjured by the music. Other bands can't make that claim. Can you listen to a ZZ Top song without thinking of the three bimbos and the red car?
I like the songs. Die-hards may argue about whether "Born To Run" is the seminal work or whether "Greetings From Asbury Park" or "The Wild, the Innocent and the E Street Shuffle" are a better 1-2 punch than "Darkness on the Edge of Town" and "The River," but just about everyone likes to see all of those albums represented at the concerts.
Ah, the concerts...
Springsteen refers to his shows as part circus, part political rally and part tent revival -- a rock and roll ministry conducted without pyrotechnics, pre-recorded backing tracks, elaborate video montages or other trappings of modern arena rock.
Although the Internet age has dulled some of the anticipation and snuffed out some elements of surprise (setlists from each night are posted song-by-song on hardcore fan sites), Springsteen manages to tweak his shows just enough to personalize them for the crowd in-house. It doesn't hurt that he's the best front man in rock, capable of drawing an ovation with a humorous introduction, dramatic pause, an arched eyebrow or a scorching guitar solo.
In most cases, he's preaching to the converted. After more than 40 years of playing shows, the band has created a legion of repeat customers. Newbies are welcome to enjoy the show and invariably leave the concert hall and spread the word. That's how the community grows and sustains itself. Springsteen's crowds skew a bit older than most crowds (the Stones and Jimmy Buffet do, too), but I've seen a lot of teenagers, some with parents, at recent shows.
Unlike the Grateful Dead, which came to town with its own traveling band of fans whose exploits were integral to (and often more interesting than) the action onstage, Springsteen shows are a front-to-back affair. The band hits the stage, usually within about 30-50 minutes of the starting time stated on the ticket, grabs the audience by the lapels from the first note and doesn't relent.
Guitarist Steve Van Zandt said the goal hasn't changed since the band were teenagers - they want to put on the best rock and roll show anyone in the audience has seen.
Some nights, they succeed. Some nights, they fall a little short. But, the journey - the singular and shared sense of purpose that emanates from the stage and pushes to the back of the arena -- is always worth watching.
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