El Jefe cantando”Solo le Pido a Dios”
English will never sound the same after this.
El Jefe cantando”Solo le Pido a Dios”
English will never sound the same after this.
Harrison did this on The Voice and it brought back memories from 1985 when Bruce finished his concerts with a slightly pitchy version ,which was unforgettable in it’s brilliant imperfection.
Can’t help Falling In Love, Italy 1985
Another obscurity ,great djembe playing !
“Ancient texts tell us that the famed prophet rose again on Easter Sunday, moved the rock and kept his believers filled with faith until his inevitable return to the promised land. On Sunday night at Hanging Rock, 17,000 disciples are treated to their own religious experience: Bruce Springsteen finalising his first Australian tour in more than a decade with an energised three-hour set of biblical proportions.
One Boss, 17,000 fans, 29 songs, 17 band members, 19 “1, 2, 3, 4” count-ins and countless tales of runaway American dreams. Our saviour has risen. Praise be.”
1. Adam Raised a Cain
2. Candy’s Room
3. She’s The One …
4. Something In The Night
5. We Take Care of Our Own
6. Wrecking Ball
7. Death To My Hometown
8. Hungry Heart
9. Spirit In The Night
10. The E Street Shuffle
11. Incident on 57th Street
12. Tougher Than The Rest (w/Jimmy Barnes)
13. Because The Night
14. Jackson Cage
15. Open All Night
16. Darlington County
17. Shackled & Drawn
18. Waitin’ On A Sunny Day
19. The Promised Land
20. Lonesome Day
21. The Rising
22. The Ghost of Tom Joad
24. Born In the USA
25. Born To Run
26. Dancing In The Dark
27. Tenth Avenue Freeze-Out
28. Rosalita (Come Out Tonight)
29. Twist & Shout
We never meant to take the trip to Hanging Rock. When my son and I discussed whether we should attend a Springsteen concert together, we thought Rod Laver Arena in the city would be easier. Alas, when I tried to get tickets one morning early last December, all the good front seats were gone in seconds,and so was GA, which I expected. I don’t know what people do to get good tickets, but I have a feeling that a suboptimal internet connection (we live between two servers, both too far away) had something to do with my lack of success 30 seconds after ticket sales began. Anyway, when I couldn’t get god tickets for the city, I immediately tried the second concert at Hanging Rock to score 2 seats, section A5, dead centre in front of the stage, row 3. But I didn’t know what to expect, how big was the venue? how big was the GA? James complained that he didn’t want to make the treck and I should take someone else, but since he is such a big music fan and avid concert goer (and a musician) I insisted that he’d accompany me. He had, after all grown up with me blasting Bruce non-stop and while his tastes are a little more hard-rock than mine, I tend to think that listening to Springsteen in his formative years contributed to his love of Rock’n ‘Roll.
We took off at about 1pm armed with a six-pack and a small flask of Jack Daniels and – more sensibly ,some sandwiches, Easter eggs and water. You are not allowed to bring your own alcohol to concerts, but we thought we’d have some in he car before entering to save us queuing up,since James insisted that he would only be able to handle a night out with his mother if he consumed a fair amount of booze.
James drove there, his very first experience of driving in the country himself. It was a smooth trip, not much traffic in the middle of the day on Easter Sunday and it took about 1 1/2 hours all up. Of course we missed a turnoff ( as you do) and ended up having to go over the Westgate bridge first before backtracking.
After arriving at Hanging Rock at about 3pm , we had a couple of beers and proceeded to climb the rock ( the first band started playing but we had no interest in listening to 7 hours of music.)
Walking uphill is not the easiest thing when you are a little tipsy, but we made it up to the summit, where we were greeted with a really nice view of the stage(from the back) and the crowd, so it was worth it just to get a photo of that (and you could still hear the music from up there too). Mind you, the rock is spectacular and well worth a visit if you haven’t been there in a while. The rock formations make it appear like a castle created by nature, a wonderful place with a strong spiritual energy!
We scrambled downhill and made the return walk through 2 giant car parks before drinking more beer and bourbon in the car. People had their car stereos blasting a variety of Springsteen songs, some sat around in deck chairs having a picnic. Soon it was after 5pm and time to go in to check out our seats and the second act of the day : Jimmy Barnes. i must admit, i quite enjoyed his performance. it only went for a little more than an hour , he sang some of his greatest hits and was at one point joined by his daughter Mahalia, whose powerful voice probably surpasses his and his old friend and Cold Chisel partner in crime Ian Moss (the highlight for me). Barnsey was well received by the Springsteen crowd, he is a consummate performer and has nothing to be ashamed off. it was great!
A few more beers later, dusk descended on Hanging Rock. While roadies were checking the equipment and someone vacuumed the stage, a few people climbed into a cage hung high above the stage: 5 cameramen (and one woman, you go girl!)Not a job for me hanging by a few metal threads about 20 metres above the ground! One of them waved to us.
Still the wait, getting nervous. But then finally at 7.15, the E-street band came on stage, two by two, with Bruce appearing last.There he was again, after 10 year absence. I still remember his powerful acoustic rendition of “Born in the USA ” on the eve of the Iraq war in 2003, what a moment. But this time he chose to go full band and biblical and launched into a relatively obscure song from 1978 :Adam Raised a Cain. When i say obscure I mean that it wasn’t a radio hit, every Springsteen fan worth her salt knows the song. But, it was an indication of what was to follow : Apart from a few songs from the new album (all brilliant), a few evergreen staples like the classic Badlands and the Promised Land and a few greatest hits, the heart of the night were the fan requests of relative obscurity. Bruce had been changing the set list on a nightly basis since the tour began in Brisbane, but he took it to new heights for his last show, playing rare gems like Jackson Cage and Incident on 57th Street, Candy’s Room and Something in the Night and the glorious E-Street Shuffle. I was so pleased with the song choices, I forgave him for not playing Thunder Road and City of Ruins, two of my all-time favorites.
The highlight of night, to me, was the wonderful boogie woogie version of one of his greatest obscurities: Open All Night, a song that was only ever released in a stripped down acoustic version but has now become a killer show stopper with full horn section – insanely good (and that was about half-way through).
Other highlights worth mentioning (There were so many) were “Spirit in the Night” (which has Bruce drinking from a fan’s smuggled Vodka bottle , see my Video) and the superb guitar -wailing duet of “Ghost of Tom Joad” with the incredible Tom Morello.
There was a walkway separating the seated section from the GA section, and Bruce ran past several times . I managed to get a spot in front of the barricade for the moving tribute for Clarence Clemmons and Danny Federici, dearly departed E Street Band members and Bruce walked right past me, sadly he didn’t stop to say hello, but it was as close as I ever got and I was thrilled!(Thanks to the nice lady who allowed me to push in!)
James, who had been whingeing for days that maybe he should not come along ,was in shock and could not believe his eyes and ears and at the end of the night he exclaimed “This is the best concert I have ever seen.” at one point James was dancing on top of his chair and Bruce looked right at him. A new convert to the Church of Bruce.
To me Bruce has always been a master of superlatives, I have been a die-hard fan forever: I can recite most of his song-lyrics in my sleep and have seen him twice before (In 1985 and 2003), where he completely fulfilled my high expectations. This time though, he exceeded them! Part of the reason is the new band formation with the addition of a full horn section and percussion , which soften the otherwise blasting Hard Rock of the E-Street Band while at the same time lending it a kicking soul-jazz groove; The film technology that allowed views of him when he was amongst the crowd and the enormous screen behind the stage were appreciated by all and (especially the people further back) and really added to the atmosphere; but mostly he himself was in fine form last night,- no idea where he gets his energy from – the way he interacted with the crowd was intense, captivating, brilliant, charming and funny and heartfelt: an incredible showman! I had been worried about whether playing two nights straight would affect his performance, but he actually wore me out and a few times I had to briefly sit down to rest my aching feet. It appeared that , being his last night of the tour, Bruce did not have to conserve his energy: He went for broke, pushing his voice, himself , the band and the audience to the utmost limit, to say he succeeded would be an understatement.
It seemed that the show would never end. When the last song finished Bruce screamed : “one more”!
James and I yelled back :we had enough, we want to go home” but he wasn’t gonna let us off that easy and launched into “Twist and Shout” (twice). Bruce and the band played for almost 3 1/2 hours without taking a breath between songs. What a night! There are rumours that the Hanging Rock shows are to be released as a DVD, which is promising, but I cannot wait for Brother Bruce and his Travelling Salvation Circus to hit town again, it will probably be even better next time!
As we speak Bruce is performing his 4rth concert in Australia. Here is a little taste for those who are interested.
And here is a fan’s review of the second Sydney concert:
BY Roberto Robespierre.
Last night’s show was a joy to behold. A masterclass. A manifesto on the importance of music for helping us make sense of our world, and a testament to the power of the song in the right hands. Also a reminder that after Bruce, there will be nobody to replace him. In my mind, he’s analogous to the ideal centre of the political spectrum (libertarianism); he is the ideal centre of the two rock music extremes of Elvis Presley (all body/dancing, not much brain/literary action) and Bob Dylan (not much dancing, extreme cerebral activity). Or maybe he’s both extremes at once? (Don’t apply the political spectrum analogy though: he’s not Stalin.)
The opening two songs – Devils and Dust, Last to Die, two different, but equally profound responses to the same subject (US troops in the Middle East) performed to commemorate the 10th anniversary of the start of the war – were stunning. They created a sombre mood, and built the enormous tension that would subsequently be torn down in the catharsis of what was to follow.
The Ties That Bind. Didn’t think I’d hear it! He knows how to connect the political (first two songs) with the personal (most of what follows). But my God it was good. And straight into Darkness on the Edge of Town. The guttural, agonised cry of the last word (‘town’) was brutal. The first four songs alone were worth every yawn I’ll have today.
Only Bruce could write a song about a sports stadium being demolished and make it mean something approaching a metaphor for all of life’s struggles. It’s his myth of Sisyphus. Wrecking Ball was massive. The “Hard times come/hard times go” bridge was a deep, religious experience.
Death to my Hometown was amazing, once again. I love the key change in the live version. It’s an Irish folk song, and the melody – like many of Dylan’s – is completely derivative. But that’s the point: we see the old in the new. The lyric also tells a familiar story. He taps into songwriting tradition in ways that only Dylan surpasses.
Out in the Street was some light relief. And another chance for Bruce to prove he’s Dorian Gray: what other 63 year old would consistently crowd surf half the length of the arena to get back to the main stage?
Does This Bus… has never been my favourite Boss song, but it was the best version I’ve heard. And not in a nostalgia kind of way. The horns turned it into deep soul music, and Bruce’s older man voice gave the lyric a perspective the original lacks.
We got The Promised Land in Brisbane too, and this time it was the first of four sign requests IN A ROW. The next three were all Born in the USA songs: Cover Me (with a Nils solo to die for), No Surrender (an ironic statement on the first two songs, in retrospect), and – wait for it – I’m on Fire. Full band, with extended vocal falsetto in the coda. I really didn’t expect that.
My City of Ruins was, as always, magisterial. He really taps into that Southern preacher persona, but without the dogmatic fundamentalism that limits its appeal (thankfully).
High Hopes for the third time. I’m really digging it. Much more than the recorded version. It’s all about the E Street horns. They’re outrageously good.
Because the Night reminds us once again that he really shouldn’t have given it to Patti Smith (although her version is obviously also great), and Open All Night does what Elvis did at his best too: makes everybody (even the 70 year old in front of me) stand up and dance for the rest of the show.
…Sunny Day is always as cheesy as it gets. But we allow him this because the random kid he chooses from the audience to sing the last chorus with him (and then knee slide down the front of the stage) is always cute. Lonesome Day (another first) reminds us again of the first two songs (“Better ask questions before you shoot”), and simultaneously keeps people dancing. Weird but awesome.
Tom Joad. I don’t want to ruin this for people who haven’t seen the show yet. He’ll play it in Melbourne, and when he does, it’ll be something you’ll tell your grandkids about one day.
Badlands finishes the main set really subtly. Not.
I don’t want to rub it in or anything (Iain!), but Jungleland was the best thing I’ve seen him play so far. The sax solo was just bloody marvellous (Jake knew he made Clarence proud, and Bruce gave him a big hug at the end), and the howl in the coda was better than it was in 1975. An exceptional piece of
writing and arranging, and performed with all the respect it deserves.
Born to Run. No comment necessary. Bobby Jean brought the tears again. “I miss you baby/Good luck, goodbye” gets me every fucking time. Only Bruce could sing those words – eternal cliches – and make them mean everything.
And Dancing in the Dark, Detroit, and Tenth Avenue finished the show in usual style and elation.
We will never haver an artist like Springsteen again, and you have to really take the opportunity to ‘suck the marrow’ as much as you can. Musicians aren’t as ambitious (generally) these days (who can afford to be?), and aren’t as historically connected to the greats (remember, John Hammond also signed Dylan as well as jazz and blues greats to Columbia, and this line is evident in Springsteen’s music). Even those who do mine the History of Song (and I’m not just talking about rock music here) are usually too cerebral to make their audiences dance so much. And what musician of a younger generation can afford to tour a shit hot 17 piece band around the world? This is a rare experience to be treasured. Trendy po-mo art rockers come and go, but Bruce’s artistry and influences gives this music long life. Eternal life, perhaps. This was a show to treasure.