By Erik Flannigan
Loss is one of life’s most challenging experiences. There is no universal path to solace, no prescriptive behaviors to mitigate its pain. But as we process the death of a loved one, at some point in the days and weeks that follow, the one undeniable truth of the situation is eventually revealed: Life goes on.
Just 11 days removed from the passing of Danny Federici, Greensboro opens with a video tribute to the band’s fallen comrade set to the music of “Blood Brothers.” But from there the mood shifts markedly. At the first four shows performed after Federici’s funeral, setlists dipped back to Springsteen’s first two albums for songs like “Blinded By the Light,” “Does This Bus Stop at 82nd Street?” and “Growin’ Up” in tribute to Phantom Dan. There would be time for that this night too, but to open Greensboro, something more cathartic was delivered.
The pairing of “Roulette” into “Don’t Look Back” rivals the best one-two punch from any Springsteen show in any decade. Two stunning, underplayed rockers—one haunting, one life-affirming—blow off the doors of the Greensboro Coliseum, and the release of energy is unmistakably liberating for all.
As the diehard collectors well know, “Roulette” has a very tricky arrangement, especially as a one-off, and here it is played with full conviction in what has to be one of its best modern performances. How convicted? Listen to Bruce declare, “They say they wanna help me but with the stuff they keep on sayin’, I think those guys just wanna keep on playin’.” The guitar solo is searing as well, and Max crushes one of his signature drum parts.
The same can be said for “Don’t Look Back,” which faithfully follows the 1977 arrangement in its only live outing circa 2000-2012 and one of only 31 performances ever. Short-listed for, but ultimately left off of Darkness on the Edge of Town, “Don’t Look Back” remains one of Springsteen’s greatest non-album tracks. In fact, “Don’t Look Back” was so “ready” for Darkness, it is the only song that wasn’t newly remixed for Tracks in 1998. The performance in Greensboro is a faultless rebirth.
One could argue the top of the show isn’t merely a perfect pairing, but a trio, quartet, or even quintet of brilliantly linked performances. The momentum of “Roulette” and “Don’t Look Back” pushes kindred spirit “Radio Nowhere” to new heights. “Out in the Street” (a phrase also uttered in “Don’t Look Back”) bears renewed vivacity and “The Promised Land” brings us home, riding Roy Bittan’s piano and Stevie’s guitar.
Bruce finally catches his breath as we move into Magic territory with a solemn (and timely as ever) reading of the title track with Soozie subbing admirably for Patti. “Gypsy Biker” was a Magic tour highlight every night and continues to deserve consideration as one of the finest E Street Band songs of the 2000s. A heartfelt story follows, as Bruce describes meeting Danny for the first time, preceding a momentarily tentative but ultimately winning “Saint in the City.”
Setlists on the Magic tour were notably tight, and that bang-bang approach is in evidence as Bruce steers “Saint” left into a very fine “Trapped” and follows that with graceful right turn into the Nils Lofgren (and Soozie, too, in Ms. Scialfa’s absence) showcase, “Because the Night.”
The night’s crackling atmosphere sparks a terrific “Darkness on the Edge of Town.” Jon Altschiller’s mix positions piano and guitar ideally. The performance is anchored by an impassioned Springsteen vocal that drops in defeat when he sings the slight variant, “I lost my faith when I lost you,” only to rise to that arresting heightened register to deliver the rest of the verse starting with, “Tonight I’ll be on that hill, ‘cause I can’t stop.” “Darkness” and the “She’s the One” that follows are equal parts vintage and in-the-moment.
By the halftime arrival of “Living in the Future,” the score Bruce has put on the board is at MJ/Lebron levels. And to continue the analogy, those games still make for great, memorable wins, even if the superstars don’t hit quite as many downtown three-pointers or monster dunks in the second half.
The return of a newly streamlined “Mary’s Place” registers as another highlight. “Let’s see if we remember this one…debut on this tour. Come on, let’s try it,” says Bruce with undeniable glee. There is something fresh about “Mary’s Place” mk2, with more echoes of the kind of updated “Thundercrack” or “Santa Ana” vibe that he seemed to be going for in the first place, compared to what the song morphed into on the Rising tour.
Sure, there is something peculiar about spending your sign request on “Waiting on a Sunny Day.” The motivation may have had more to do with being picked for the singalong (which, as it turns out, didn’t even happen for this tidy performance), but we’ll excuse it as well-meaning if slightly misguided. From there, Greensboro moves through a solid back ten that may lack a bit of the first half’s urgency but holds its own, especially the Magic songs: “Last to Die, “Long Walk Home,” and “Devil’s Arcade.” The last of these and “Magic” make their first appearances in the Live Archive series from 2008 performances.
Springsteen and the band ultimately bring Greensboro home in fine form through a long and lively “Badlands,” a musically rich and beautifully sung “Backstreets,” the fitting farewell of “Bobby Jean” (kudos to Clarance for nailing the solo), and the high-spirited finale, “American Land” with Charlie Giordano eloquently deputizing for Danny on accordion.
The recent release of Letter to You on record and film reinforces that life does go on for the E Street Band, and equally that the spirit of those who have departed continue to inspire those who carry on. Greensboro is a wonderful reflection on the process of loss and the power of perseverance.