Posts Tagged ‘Philadelphia’

The second of the three Bruce Springsteen and the E Street Band reunion-tour shows I attended was no mere concert, but a blow-out bash; and while not the favorite Springsteen concert that I’ve enjoyed, it ranks near the top. Originally slated to take place on September 16th, it was pushed back eight days due to Hurricane Floyd’s unexpected visit to the East Coast. That meant the shindig fell on the day following a major Springsteen milestone: His 50th birthday. 

Unlike the other five nights in Philly, the concert took place at the Spectrum, which seemed positively tiny and quaint in comparison to the barn-like First Union Center. The site holds a special place in Springsteen lore for two reasons: When he and the E Street Band first played it on June 6th, 1973, during a 13-date stint opening for Chicago, they were greeted – for the first and possibly last time – not by shouts of “Bruuuuce!” but actual boos; in response, Bruce is said to have flipped the finger to the over-eager fans, who were no doubt clamoring for “Roxie” instead “Rosalita.” (Oh, wait – wrong Chicago!) Fast forward three years, however, and he and the band played their first and second large arena shows as a headliner at the venue on Oct. 25th and 27th, 1976. (Both nights, as all nights in Philly, sold out.)

My first memory of this show: The traffic and parking, which were insane. The Phillies were at Veterans Stadium, which was situated across the street from the Spectrum, and the Flyers were hosting the New York Rangers at the F.U. Center, which was next door. The Schuylkill Expressway and I-95 were both backed up, and Broad Street was at a standstill. We pulled into and parked in a distant lot that, I’m fairly certain, was in Timbuktu.

Although – as I mentioned in my post on the Sept. 20th F.U. Center concert – my ticket stubs have been lost to time, I recall Diane and I being situated in first or second-level seats, about 5 o’clock to the stage’s midnight. Not the world’s best, obviously, but much better than one show in ’92 when I found myself sitting in one of the Spectrum’s “obstructed” seats (aka behind a cement pylon).

My next memory: Bruce strolling stage center with a boom box, which he held to the microphone. He played a song that a fan – a neighbor of his mother’s, no less – had sent to him for his birthday. After that, he launched into one of my favorite songs by him, “Growin’ Up,” and soon enough we were havin’ a party. As on the 20th and the 25th, highlights included the five-song stretch from “Youngstown to “Tenth Avenue Freeze-Out.” In short, the night was raucous and meaningful at once, exactly what this thing called rock ’n’ roll is supposed to be about. 

Unfortunately, video-capable cell phones were still a ways away, so YouTube is not littered with clips of the concert. But two cool, fan-shot videos, both from behind the stage, are present. The first: the first performance of “The Fever” since the Darkness tour…

The other: the closing number of the night, “Blinded by the Light.”

All in all, for me and mine, it was a great show.

The set:

  1. Growin’ Up
  2. No Surrender
  3. Prove It All Night
  4. Two Hearts
  5. The Promised Land
  6. Spirit in the Night
  7. Does This Bus Stop at 82nd Street
  8. Mansion on the Hill
  9. Independence Day
  10. Youngstown
  11. Murder Incorporated
  12. Badlands
  13. Out in the Street
  14. Tenth Avenue Freeze-Out
  15. Working on a Highway
  16. The Fever
  17. Backstreets
  18. Light of Day
  19. Bobby Jean
  20. Born to Run
  21. Thunder Road
  22. If I Should Fall Behind
  23. Land of Hope and Dreams
  24. Blinded by the Light

In 1999, after a decade apart, Bruce Springsteen reformed the E Street Band. March saw the band engaged in private and public rehearsals at Atlantic City’s famed Convention Hall, where the Beatles played in 1964, with the practice interrupted only by Bruce being inducted into the Rock & Roll Hall of Fame. The 15-month tour began in Spain on April 8th, and remained in Europe for the next two-and-a-half months – a smart plan, really, as it guaranteed the band was in peak form by the time they hit the States.

And hit the States they did: On July 15th, Bruce and band kicked off a sold-out 15-night run at the Continental Airlines (aka Meadowlands) Arena in East Rutherford, N.J., followed by five nights in Boston, three in D.C., two in Michigan, and a half dozen in the city that championed him first, Philadelphia. (In total, including Europe and Canada, Bruce and the band played 133 concerts in 62 cities; as the tour wore on, there were more one-and-dones.) Most tickets cost $67.50 (or $103.76 in 2019 dollars) prior to the TicketMaster charges.

That six-night residence in the City of Brotherly Love, I should mention, saw him play five nights at the home of the Flyers and 76ers, the F.U. (aka First Union) Center, and one at the former home of the same sports teams, the hallowed Spectrum, the site of his first headlining arena show in 1976. I had tickets for three (Diane had five) and, in fact, my first night of the fun was slated to occur on the 16th at the Spectrum, but Hurricane Floyd caused the concert to be pushed back to the day after Bruce’s birthday, the 24th. As a result, this night – our 18th wedding anniversary, no less – turned out to be the first that I took in.

Though the ticket stubs have been long lost, memories of each concert remain, including one (the 25th) where Diane I sat exactly opposite the stage in the last row of the second level; and the Spectrum gig (which has gone down in Bruce lore as one of his best – I plan to write about it in the future). This night, however, is the first that springs to mind – and not because of the music, but a little girl.

Diane and I were accompanied by our good friend (and Diane’s longtime Bruce buddy) Luanne and Luanne’s 6-year-old daughter Loren, with the four of us sitting in the first level – section 102 or 103, I believe, somewhere in the 8 o’clock range. Good seats, in other words, but far from great. On that tour, however, Bruce had a member of his crew roaming the hall to offer instant upgrades to the front row; while running into this person was akin to hitting the lottery, it happened, and not just for folks in the nose-bleed sections.

I know that last part for a fact, as it happened to us this very night – almost, that is. 

Let me set the stage: We arrived somewhat early, found our seats, ran to and from the bathrooms and food vendors, and sat back and watched the arena slowly fill while talking about what we hoped for from the night. I wanted “Candy’s Room,” and a set anchored by Darkness on the Edge of Town; Diane, who’d studied the set lists up until that point, thought that unlikely. Somewhere in there, we noticed the crew member navigating through our section toward us. (The backstage pass dangling around his neck was the tell.) Words were quickly exchanged. “I can’t,” he said once he realized Loren was with us. “She’d get crushed.” People rushed the stage, he explained, and little kids could get hurt.

He moved on.   

Still, it was a great show. “Candy’s Room” led into “Adam Raised a Cain,” and three more Darkness songs were sprinkled throughout the set (though not “Promised Land,” the lack of which always disappoints me). As with every night of the tour, though some sections of the set changed, others did not. So, as on all other nights, an electric “Youngstown” – one of my favorite live songs by Springsteen with the E Street Band, as it melds the folk and rock traditions (and also features a mesmerizing solo from Nils Lofgren) – gave way to “Murder Incorporated,” “Badlands,” “Out in the Street” and “Tenth Avenue Freeze-Out.” Everyone was on their feet, dancing and singing along, fists pumping the air.

Everyone, that is, except for Loren. At some juncture, as only little kids can, she sacked out. Her eyes closed and head drooped, and despite the joyous din she found herself in, she fell fast asleep. (To this day, it’s one of the sweetest things I’ve witnessed.) By the time Bruce and the E Street Band lit up the arena with “Light of Day” and “Ramrod,” wave upon wave of bodies crashed upon the stage as if it was a seawall; she heard and saw it not, but she was safe while her mother, Diane and I were thoroughly enjoying ourselves, our so-so seats notwithstanding.

Anyway, since no video of this night exists on YouTube, here’s “Youngstown” from Live in New York City, which was filmed in April of 2000:

And, from the fifth night (7/26) of the Meadowlands stand, here’s “Light of Day”:

And, last, since it was a highlight for Diane then and now (“I’ve got goosebumps,” she just said), here’s “Back in Your Arms” from the 14th night (8/4) at the Meadowlands:

The set:

  1. Candy’s Room
  2. Adam Raised a Cain
  3. The Ties That Bund
  4. Prove It All Night
  5. Two Hearts
  6. Darlington County
  7. Something in the Night
  8. Mansion on the Hill
  9. Independence Day
  10. Youngstown
  11. Murder Incorporated
  12. Badlands
  13. Out in the Street
  14. Tenth Avenue Freeze-Out
  15. Working on the Highway
  16. The Ghost of Tom Joad
  17. Back in Your Arms
  18. Backstreets
  19. Light of Day
  20. Ramrod
  21. Bobby Jean
  22. Born to Run
  23. Thunder Road
  24. If I Should Fall Behind
  25. Land of Hope and Dreams

Seatbelts were fastened. Smoking materials were extinguished. And, after taxiing to the runway while being serenaded by Field Report (aka singer-songwriter Christopher Porterfield), the jet known as Jade Bird rocketed into the sky for a rollicking performance that featured songs from her 2017 Something American E.P., a few recent singles, new material, and two choice covers. The crowd, it’s safe to say, was wowed.

The snappy set was as compact and concise as the songs, with nary a note out of place. Introductory patter was kept to a minimum. It was as if she, guitarist Will Rees, bassist Jesske Hume and drummer Matt Johnson were a twang-infused Ramones for the night. (Not that I’ve seen the Ramones.)

The inclusion of “Walk Like an Egyptian,” especially for an old Bangles fan like me, was just plain great. The audience enjoyed it, as well, and even joined in on some of the “oh whey oh” lines.

About the only negative: the set’s brevity, which clocked in at just under an hour. Elsewhere on this tour, she’s included a stirring rendition of Kate Bush’s “Running Up the Hill”; it would have been nice if she’d played it, too.

Afterwards, we talked with a few other veteran music fans who, like us, were besotted by Jade’s talent. She reminded one of a young Carlene Carter. She reminds me, however, of a young Kasey Chambers – think “Freight Train” and “Barricades & Brickwalls.” While she doesn’t possess the same quirky humor or pathos as Kasey, she does possess a similar knack for crafting killer tunes.

The set (as best as I remember it):

  1. What Am I Here For
  2. Cathedral
  3. Good at It
  4. Good Woman
  5. Side Effects
  6. Ruins
  7. Does Anybody Know
  8. If I Die
  9. Furious
  10. Uh Huh
  11. Hold That Thought
  12. Walk Like an Egyptian
  13. Love Has All Been Done Before
  14. Lottery
  15. Going, Gone
  16. **Something American
  17. **I’ve Been Everywhere  

 

Shelby Lynne and Allison Moorer’s new album, Not Dark Yet, is a sublime set that finds the sisters adding a wondrous luster to borrowed gems penned by the likes of Bob Dylan, Townes Van Zandt and Merle Haggard, among others. In a way, it’s the sonic equivalent of jewelry row in Philadelphia – or, to change metaphors, an exhibit at the Museum of Art. Each painting reflects and transcends the reality that birthed them. But when the Moorer sisters performed the same 10 songs last night at the World Cafe Live in West Philly, it was as if those paintings morphed into a spellbinding motion picture filled with shadows and light.

Shelby, for her part, radiated a colorful Janis Joplin-like vibe. “Thank you for coming out on a Monday night,” she crowed at evening’s start, apparently unaware – until the laughter kicked in – that it was Friday. Allison, on the other hand, maintained a more restrained demeanor. But when their voices blended together as one, such as on this Louvin Brothers classic…

…or this Jessi Colter classic…

…well, what can be said? The magic they created was astounding. In a similar vein, when they weaved their voices in and out, and traded lead vocals, such as on Dylan’s “Not Dark Yet,” the stark beauty of the confessional (“Sometimes my burden is more than I can bear/It’s not dark yet, but it’s getting there”) stunned the audience into silence.

By far, the most moving moment of the set – at least for me – came with their rendition of Nick Cave’s “Into My Arms.”

On album, as the clip above shows, it’s hypnotic. But live? It’s an epiphany. I’m kicking myself now for not recording it.

I’d say the same for their entire 80-minute (give or take) show. It was a mesmerizing night filled with shadows and light, darkness and hope, the chosen songs shedding insights into life itself, though those insights are damned difficult to put into words.

One of the things I most enjoyed: their obvious affection for one another – and the music. At one point, Allison stepped close to her sister and seemed to encourage her to take the next verse; Shelby mouthed “you sure?” – and then did so with relish. And Shelby, when waiting to chime in on the chorus or take the next vocal, looked like a supernova in the midst of a musical galaxy, burning brighter with each chord. It was cool to witness.

One more thought: Obvious from the featured clips is that none of them are mine. We had front-row seats, which gave us a great view of Allison – especially when she sat at the keyboards in front of us – but a somewhat distant view of Shelby. Rather than swing my iPhone back and forth (and give myself whiplash in the process), I took a few pictures and left it at that.

Here’s a good one of Allison: