Springsteen MSG 9th April 2012

I always think setting context is important before commenting on gigs. There are Springsteen fans who literally follow him around from gig to gig, commenting on whether the instrumentation in Kitty's Back quite compares to the version done at Hammersmith in 1975, or whether the Philly crowd gets quite as excited by the rendition of Thundercrack as Detroit or even if Thundercrack is a good enough song to fill the classic spot in the show .....and don't get me started on Cover versions!!


I am not one of those fans. I'm not much of a comparer, I am interested in a given moment and how that made me feel right then, and I worry less about how that measures against something I, or anyone else did 40 years ago. I'm not saying that's better or worse - it's just how I am.


It's one of the reasons that Springsteen is still, 30 years after I first discovered the River, the artist that means most to me musically. Yes I love the old stuff, like everyone else, the nostalgia of hearing Born to Run live never ceases to get to me, BUT I wouldn't keep going back for more if I wasn't equally effected by what he has to say right now. At 62 years of age, he is for me, still more relevant than any other artist on the planet - not to mention that his band are absolutely kick ass!!


Since he reformed the Band in 1999 and particularly since the release of 2001's The Rising with the Live in New York City DVD in 2003, I have been desperate to see him in New York. Springsteen is so famously associated with New Jersey and in years gone by I would have loved to have seen him at the Meadowlands but since the edgier, more political turn of his recent work and the obvious poignancy of the location, my ambition has changed to NYC - not least because he has a slightly different relationship with the New York crowd than the adoration in New Jersey, he has to work a little bit harder for it in NYC, and it shows in the quality of the performance.


After the tragic death of first Danny Federici and then more recently the larger than life Big Man, Clarence Clemons, I felt like if I was ever going to do it, it had to be on this tour - so when dates were announced for Easter weekend, I massacred my credit card on Ticketmaster  and with flights from the UK over to the Big Apple for the Easter Monday show.


The band has grown in size over the years to accommodate some of the new material, so they took to the stage with a full horn section, including Clemons' nephew Jake (of whom more later). I had tried to keep away from set lists so I was surprised that he opened with Badlands - always a crowd pleaser and one of my favourites live. From then he went into the two songs I was expecting to open the set We Take Care of Our Own and Wrecking Ball - both went down well with the crowd and set up a great atmosphere.

Following on from Wrecking Ball was Out in the Street, in my view Bruce's ultimate feel good song, so with lots of audience participation the place was rocking at this point.  


Tempo stayed up but the mood changed significantly with the angry rant, Death to My Hometown from the new album, a song that is both a tirade against everything that has gone wrong in the US economy and a look back to the less complicated days of My Hometown on the Born in the USA album.  A more serious mood set, led into the poignant My City in Ruins - a song about 9/11. He took the opportunity to introduce the band here, not the lighthearted intro of past tours and the use of this song to do it was prescient, but he introduced every member that was there and then asked us to remember those that weren't - I'm not a crier but I had a tear in my eye.


Time to lighten the mood (and this is where Bruce is unlike any other I've ever seen in his ability to drag the audience from joy to despair and then have them crying with laughter all in the space of an exhausting 3 hour show) and we moved into the Classics part of the set - Spirit in the Night - huge if very old fan favourite was immense followed by an audience request Thundercrack. One aspect of Springsteen shows is he changes the set every night, often to play stuff the band haven't even rehearsed - and this was one such moment - exhilarating and hilarious at the same time.


A serious part of the show followed and Bruce talked about the plight of the ordinary working man as a result of the current recession and led into the gorgeous Jack of All Trades, for me the best song on the new album. This was followed by Trapped, She's the One and Easy Money all songs with great energy.


He does persist with Waiting on a Sunny Day which, to be honest I think is one of his weakest songs - but clearly Bruce doesn't and this was followed soon by a soul medley. This was fun and uplifting and made great use of the phenomenal backing singers he has put together for this tour.


Highlight of the Night for me was Because the Night, one of his best songs, a huge hit worldwide for Patti Smith but which only finally made its way onto a Bruce studio album with 2010's The Promise.  The live version was only made better by the genius that is lead guitarist Nils Lofgren - in my view the world's greatest living guitar player - check the solo out on YT it's worth it!


The main set reached a cresendo with Back Streets and Land of Hope and Dreams which were perfect for the night (even if it meant losing my all time favourite song, Thunder Road).  Another star of the show was Clarence's nephew Jake who took over sax duties as well as contributing vocals and percussion at one point.  It was inspired to put him in this role, anyone trying to replace Clarence would not be accepted by the crowd but trying to do an E Street show without the sax is unthinkable - step forward Jake, his family relationship guaranteeing him crowd sympathy , which he got - what I don't think any of us expected (though why I don't know given who he learned from) was the absolute aplomb with which he would take centre stage - he was a complete revelation and real highlight of the show!


Encore stormed off with Rocky Ground, significantly improved live over the studio version, the the ultimate party song Rosalita, followed by crown favourite Born to Run and Dancing in the Dark. The 20,000 crowed had danced themselves dizzy and shouted themselves hoarse, the choruses of Brrrooooccceeee ringing out throughout. 


The show ended with the Big Man's theme tune Tenth Avenue Freeze and at the line "The Big Man joined the Band" the music cut out completely and a video montage of Clarence's great moments was shown - this time I didn't want to cry it was a really joyful moment, a celebration of the man that Bruce and the band had loved for almost 40 years and who was a central piece of what make the E Street Band for all of us fans - absolutely fantastic - classy and triumphant - a great way to end an amazing show.


There has been much debate about what it is that makes the E Street Band so compelling live after 40 years, for me its simple, incredible songs, amazing stagecraft, virtuoso musicianship and above all heart, soul and something to say!! I'd happily go and watch them every night if I could.

Springsteen Sleeve Eulogy to Clarence

standing together we were badass, on any given night, on our turf, some of the baddest asses on the planet.  We were united, we were strong, we were righteous, we were unmovable, we were funny, we were corny as hell and as serious as death itself.  And we were coming to your town to shake you and to wake you up. Together, we told an older, richer story about the possibilities of friendship that transcended those I’d written in my songs and in my music.  Clarence carried it in his heart.  It was a story where the Scooter and the Big Man not only busted the city in half, but we kicked ass and remade the city, shaping it into the kind of place where our friendship would not be such an anomaly. And that… that’s what I’m gonna miss.  The chance to renew that vow and double down on that story on a nightly basis, because that is something, that is the thing that we did together… the two of us.  Clarence was big, and he made me feel, and think, and love, and dream big. How big was the Big Man?  Too fucking big to die.  And that’s just the facts.  You can put it on his grave stone, you can tattoo it over your heart. Accept it… it’s the New World. 

Clarence doesn’t leave the E Street Band when he dies.  He leaves when we die.  

Read more: http://www.rollingstone.com/music/news/bruce-springsteens-eulogy-for-clarence-clemons-20110629#ixzz1o3bjJKcD

Review Matt Cardle York Barbican 1 March 2012

Having never been to the Barbican, I wasn't sure what to expect and looking around it seems like a slightly odd venue for a rock concert. The stage is really low and the seats are generous but the auditorium is very steep so it felt more like a cinema than a concert hall. This made for a slightly uncomfortable start for me because I wasn't sure whether I was allowed to stand up and I cannot imagine sitting through a rock show clapping politely. That said, the upside was that the sight lines near the front certainly are exceptional and it almost didn't feel like the band were on a stage at all, rather they were just playing right in front of you. Any concerns were proven to be unfounded by the end of the gig as the place was rocking.

The set was unusual with table lamps and chairs with cushions on to resemble a lounge but it actually worked really well once the music kicked in. This was not an XF show, indeed not a pop show at all, the music came directly from a live band comprising musicians that Matt has known for years (albeit extremely accomplished ones) and that helped make it seem like have been playing together for years. There are no dancers, no backing tape and no costume changes, just a band on the stage doing what they do best.  Not that he needed any of that. For me, artists that feel the need  for these extras, often do so because either their songs or their live performance skills are not up to captivating an audience for the length of a show. Cardle doesn't have this problem, his voice live is among the very best I have ever heard; he and his band are skilled musicians and his songs don't disappoint.

In the past, for me, his weakness has been as a frontman,  having the confidence to demand the audience's attention be on him, but if this show is indicative, he's conquered that in spades.

They open with Stars & Lovers, and upbeat catchy sing along song that works well as an opener.  Keeping the tempo up, they move on to the latest single Amazing and then move on to the stand out track on the album Letters which is, as always, incredible. The guitar work by Lorenzo De Feo is outstanding and the band really  feed off each other during the instrumental breaks.

Matt's voice and the whole delivery of, particularly the upbeat songs is on a whole different level live to the studio versions and it's clear that on the stage is where he does his best work.

After Letters the pace slows a little with two of the big power ballads from the album Walking on Water and Slowly, again both given another dimension by the band to the slightly fussy arrangements on the album. Matt chats about the songs as he leads into them - and there seems to be a recurring theme - and it's not a happy one.

A very short break to bring on a chair leads to the acoustic set. I wasn't expecting this at all - having seen him play "one man and a guitar" sets, I was a bit surprised when the band stayed on and, bass player Remy swapped his electric base for a double base. The full acoustic arrangement certainly gave the songs more depth than I have heard before. His voice really shines with the understated arrangements and Faithless and Lost and Found were gorgeous.

He moved on to do the one of two covers on the night and the crowd went ballistic as he did his big XF song First Time Ever I Saw Your Face, with just a piano to accompany his soaring vocals. I'm not a fan of this song but even I have to admit that the standing ovation he received for the rendition was well deserved.

Beat of a Breaking Heart is one song on the album I have never really liked, it's almost like his self penned version of First Time, emotional, heartfelt and in my eyes, over-sentimental so I must admit that I was astonished that this, for me, was the absolute highlight of the gig. Starting soft and acoustic with stunning vocals, it changed gear two thirds of the way through into a full on rock track, complete with searing guitar solo. Absolutely incredible!!.

The crowd were really into it by this point and the driving drum beats of  closing track, Starlight had the whole crowd on their feet clapping along.

Encores, being an acoustic version of Many of Horror which the crowd sang along to, followed by first single from the album, Run For Your Life had the crowd leaving very happy indeed.

My one slight criticism would be that the set at 1 hour 15 minutes was a little bit short for my liking and a further encore of his cover of Alanis Morrisette's Uninvited would have made the night for me. This is a small thing, however, in the context of the show as a whole which for me showed Matt and his band will be around for a long time.

5 Days in Music

I attended Metro Radio Live tonight, one of these commercial radio sponsored shows that are overloaded with acts all vying for your attention in 3 or 4 songs. It's not the sort of thing I'd ever have gone to in the days BM (or before Matt) but it's an opportunity to take the kids to something while still at least having 15 minutes of something I like too - everybody wins - or so you'd think.

Once the DJ had spent half an hour shouting at the crowd to "get them in the mood" I was beginning to think I was wrong. As one after another act came on shouted "make same noise" and sang mostly pop rnb or rap over a loud and monotonous back beat, I started to seriously doubt my decision to come along. It seems to me that in a society that has such a short attention span for anything, this is the future of the music industry - 10 minutes and only play songs we already know, in case, heaven forbid someone had to actual sit back and experience something new or original.

I won't mention the individual acts because my comments about them would be pretty uniform, let's just say it's not my cup of tea!! Half way through the show, Matt Cardle performed; this is who I had come to see, the only one to be fair.  He sang 3 songs, 2 singles and the most pop friendly album track - he didn't do any of the XF songs, including the winners' single, which one imagines would have gone down a storm.

He performed on his own, to a backing track, without his guitar or his band, because that's what you do in these things - the music isn't live and the singers sing over a track, and the experience is significantly more sterile as a result.  Matt sang fabulously and played the crowd but was I the only one who thought the smile was a bit forced and didn't quite reach his eyes?

I enjoyed it, I'd be lying if I said I didn't but my overriding feeling was what is a singer from the world of, admittedly light, rock doing in this environment?  Are Tichy Strider fans really going to "get " him and given the highlight of the night for seemingly the overwhelming majority was when Olly Murs thrust his hips suggestively in the middle of one of this banal pop songs, is this really an environment that his record label should be subjecting him to?

As I drove home, my thoughts went back 5 days to a gig at Baths Hall in Scunthorpe that I was lucky enough to win tickets to.  Matt performed for half an hour, again on his own, but this time with his guitar in a one man acoustic set that made the hairs on the back of my neck stand up. Totally at ease with the crowd and even throwing in an acoustic version of one of his old songs, Matt was superb. Only half an hour but one of the best  concerts I have been to in years. Now I'm not saying he, should do acoustic stuff particularly; I was at his album launch at Koko with a full band and he was absolutely fantastic - but fully live is clearly where he is at home and at his best - the difference in 5 days was so great you almost would think they were two different artists.

So what does this leave me to conclude? I'm not sure really - it raises questions rather than provides answers; one of which would be who are his fans? The highlight of my week will hopefully getting hold of Springsteen tickets tomorrow, many of the Matt fans I know have tickets for Coldplay and Noel Gallagher so is the pop audience really where the label should be investing it's time? I'm not an expert but even I can see they made a mess of his lead single by playing safe with the XF link - I hope they are not going to compound this by failing to market him as the artist he is - and if they do I hope Matt Runs for his Life - as fast and as far away as he can get. I'll be there, whatever.

Matt Cardle Letters - Review

I will start by declaring an interest. I'm a pretty big fan of Mr Cardle and in particular his previous bands Seven Summers and Darwyn so if you're looking for an XF perspective on his album, or just looking for an opportunity to have a bash at an XF winner, you're in the wrong place.  Having said that, I'm also a fan of good music and singer songwriters in particular so I have been waiting with some interest to see if he could cut it on his own and not be overly influenced by the XF machine. Has he succeeded? well you'll have to read on to find that out.

The album art and lyrics booklet, complete with handwritten lyrics, show the intention of the label to position him as a singer songwriter, probably alongside the likes of James Morrison, rather than as a pop act, which is an interesting and potentially brave decision. In the long term it has to be the right choice because, frankly, Matt just doesn't have what it takes to be a bona fide pop star - he's probably too old, and definitely too grounded.

Anyway, on to the album itself, which starts with Starlight. This is a tremendously uplifting anthemic pop rock song with a drum beat that drives the song to the chorus, from which point Matt's huge voice kicks in and takes it even further. A great song and likely second single.

The second song is the first single, the Gary Barlow penned Run For Your Life. It's not a bad song, but it meanders along with not enough change of pace. The middle eight is great but it just takes too long to get there. I'll never understand the decision to make it a first single.

From there the album moves on to the soulful All For Nothing which is just beautiful. Matt's voice is a little rawer on this and the edge gives the song the desperation it needs. Just gorgeous!

The pace picks up with Pull Me Under which is a funky upbeat song about wanting to fall in love.  It's a total change of direction for Matt and it works brilliantly and shows there is more to his voice than big choruses. Another good single choice.

When the song titles were first released I couldn't help wondering why anyone would call a song Amazing - I mean really? is it? and the simple answer is yes it is. Lyrically fantastic, a real tear jerker with an upbeat poppy sound. Certainly one of my favourite songs on the album and definitely the most easily accessible.

Tempo change again to Faithless, which is a  ballad that builds from soft and gentle to quite a big sound by the end when the strings kick in . A sad song (is there a theme here?) about the impact of infidelity - I absolutely love this song; lyrically gorgeous and incredibly emotional. I could listen to it all day.

Beat of a Breaking Heart is a very stripped back, almost classical piece about heartbreak (obviously!) it's so raw that it makes me feel like I am intruding on someone's emotional breakdown and I find it quite uncomfortable to listen to. The fact that it can have that effect on the listener is a testament to it's power I guess - but it's a bit much for me.

The pace changes again with Stars and Lovers, the most obviously pop song and the one that drags you in on first listen. Sure to be a favourite live, though it lacks the depth of some of the other songs on the album. A great feel good track though - and I needed it after Beat of a Breaking Heart.

Very occasionally a song comes along that is completely perfect. Like a whole album experience in 4 minutes and Letters is such a song. It is beautifully sung, and starts quietly before driving guitars and that huge voice kick in for the chorus. From there it just builds and builds until those guitars really kick in and add a really epic quality to the song. Add to that the emotional intensity of the lyrics and you have the standout track on the album.  I am completely in love with this song.

I think more as a reaction to the fact that is follows Letters as anything to do with the song itself, Reflections is slightly underwhelming. It's a good song, very well crafted and excellently sung but it just never quite gets me in the gut the way some of the others do possibly because it is quite one paced.

Walking on Water is the big power ballad that Reflections wants to be but it does the job better, A wonderful song which starts quietly and then builds to a huge crescendo for the chorus. A song to sing really loudly in the car (but a good idea to be alone unless you can hit those notes that Cardle hits so effortlessly!)

Slowly is another top class power ballad, lyrically clever and again a great sing along number. One criticism would be that putting these 3 big ballads together at the end of the album makes it lose a bit of momentum. Something with a bit more tempo between Walking on Water and Slowly (Sparks, Chemical?) would have made the end of the album a slightly more satisfying experience.

So overall what do I think? A fantastic first album of real quality with few low points and two or three real highs. I can't wait for the tour and album number 2.