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.