Every Friday at 5 pm ET, nugs.net founder Brad Serling hosts “The Weekly Live Stash” on nugs.net radio, SiriusXM channel 716. Tune in to hear his selections of the best new live music, and check out this week’s playlist below featuring soundboard recordings from Widespread Panic’s five-night residency at The Beacon, Goose at Newport Folk Festival, Billy Strings, Phish, Eggy, and more.
Every Friday at 5 pm ET, nugs.net founder Brad Serling hosts “The Weekly Live Stash” on nugs.net radio, SiriusXM channel 716. Tune in to hear his selections of the best new live music, and check out this week’s playlist below featuring soundboard recordings from Dead & Company’s final night of tour and more.
Note: These concerts are only available to U.S. and Canada subscribers, and can be streamed now with a free trial to nugs.net.
by Erik Flannigan, Bruce Springsteen Archivist
Live Springsteen streaming on nugs.net expands with Asbury Park, the second of five monthly drops bringing Bruce’s Live Archive catalog to the platform.
Asbury Park offers an additional 33 shows circa 1978 to 2014, including nine from the legendary Darkness On the Edge of Town tour in 1978. These include new multitrack mixes of the tour’s five beloved radio broadcasts from which spawned several of the most famous Springsteen bootleg of all time: July 7 at The Roxy in West Hollywood; August 9 at The Agora in Cleveland; September 19 at The Capitol Theatre in Passaic; September 30 at The Fox Theatre in Atlanta; and December 15 at Bill Graham’s Winterland in San Francisco.
The Asbury Park drop also features Springsteen’s emotional appearance with the Seeger Sessions Band at the New Orleans Jazz and Heritage Festival on April 30, 2006 in the aftermath of Hurricane Katrina, plus their inspired set at London’s Wembley Arena on November 11 of the same year. All five shows released to date from the Magic tour are here, notably the late Danny Federici’s last proper show (Boston, November 19, 2007) and appearance (Indianapolis, March 20, 2008) with the E Street Band, plus the rarities-laden penultimate performance from St. Louis, August 23, 2008. Asbury Park wraps with 16 shows from the US leg of 2014’s High Hopes tour, a stretch of concerts that saw fans making and the band delivering on dozens of inspired cover- and rare-song requests.
Every Friday at 5 pm ET, nugs.net founder Brad Serling hosts “The Weekly Live Stash” on nugs.net radio, SiriusXM channel 716. Tune in to hear his selections of the best new live music, and check out this week’s playlist below featuring soundboard recordings including Pearl Jam covering Pink Floyd, Metallica in Madrid, and more from summer 2022 festivals and tours.
Subscribers can stream over 100 of the officially released shows from The Grateful Dead Vault, organized for the first time with Deadheads in mind — browse by show date instead of album title or release date. Each show is streaming in standard and CD-Quality lossless formats, and hi-res MQA where available. We’re thrilled to partner with Rhino Entertainment, the keeper of Warner Music Group’s legacy catalog, to stream many of the previously released iconic concert recordings including Fillmore East ’69, the entirety of Europe ’72, The Field Trip ’72, Cornell ’77, Winterland ‘77, Egypt ’78, Nassau ‘81, Alpine ‘82, MSG ‘90, and a whole lot more.
nugs.net will be updating our Grateful Dead catalog with the entire studio album collection and other live releases in the coming months — follow Grateful Dead in the app to see new additions first. Additionally, we are adding some of the Crown Jewels of classic rock including album catalogs from Led Zeppelin, Neil Young, The Doors, and Yes.
Pearl Jam fans have spent the past 30+ years expecting the unexpected from the Seattle group, but there’s one thing that’s nearly never been in doubt: which members of the band would take the stage that night.
Indeed, Pearl Jam has only played a single show without one of its core five members — September 23, 2002 at the House of Blues in Chicago, when guitarist Stone Gossard was absent due to a prior commitment with Conservation International. It’s a remarkable streak that came to an end on May 12 in Oakland, CA, when drummer Matt Cameron tested positive for COVID-19 and was forced to miss the gig.
Enter touring member Josh Klinghoffer, whose Pearl Jam fandom runs so deep that he owns the kit former drummer Jack Irons used in the band in the mid-1990s, and Richard Stuverud, a longtime collaborator of Pearl Jam’s Jeff Ament who was once in consideration to fill the PJ drum seat. On 24 hours’ notice, they divided and conquered a set list and were ready for a Pearl Jam first: a show without Matt Cameron.
Stuverud played “Even Flow” much more slowly than Cameron, its tempo in line with the 1992-era live versions with then-new drummer Dave Abbruzzese. On the other hand, “Jeremy” is almost too slow, sounding like a different song entirely. Klinghoffer gives “Why Go” a loose feel that sounds like really old Pearl Jam — a deviation from Cameron’s ultra-precise, ultra-powerful attack. With Klinghoffer on drums, “Corduroy” has steady propulsion with just the right bit of swing.
Things only got more interesting the next night at the same venue, with Klinghoffer pulling off “Once” very nicely and infusing the punky rarity “Brain of J” with the reckless abandon so crucial to its studio version from 1998’s “Yield.” Stuverud was excellent on drums on “W.M.A.,” which was played for the first time in six years as a full song and not just as a tag at the end of another. “Dissident” sounded great, too, in its new lower key, despite a couple flubbed transitions, while Klinghoffer deftly navigated the measured tension and release of the classic “Immortality” and didn’t hurry “Rearviewmirror.”
In what surely must have been a dream come true, Mill Valley high school student Kai Neukermans played drums on “Mind Your Manners,” after having been brought to Vedder’s attention by his similarly aged daughter Olivia. The song’s furious pace was no trouble at all for the young musician, who plays in a band called The Alive.
When you’re down a drummer, why not dust off a rarity that doesn’t have drums on it? Enter “Bee Girl,” only the ninth performance of the non-album cut since 2014.
These first two Oakland shows already would have gone down in Pearl Jam lore for their lack of Cameron and for the band’s innovative solution to the problem, but the May 16 performance in Fresno, CA, offered an even bigger surprise. For just the second time since he left the band in 1991, original drummer Dave Krusen joined Pearl Jam on stage — the only other being when he was inducted into the Rock and Roll Hall of Fame with the group in 2017 and played a solitary song with them.
“That first record seems to be a record that affected so many people,” Vedder says of Ten. “It’s such a nice thing. Our friend that was playing drums at that time, the amount of shows he got to play with us was fairly limited. This week, we’ll get to make up for that.”
As easy as it could have been for Krusen to steal the show in Fresno, Klinghoffer isn’t to be upstaged on a lead vocal duet with Vedder on Prince’s “Purple Rain,” performed here for the first time ever by Pearl Jam (Vedder and Klinghoffer previously tried the song with The Earthlings a few months back). Momentarily taking the spotlight off his drumstick-wielding mates, guitarist Mike McCready goes to town on a solo cover of Eddie Van Halen’s “Eruption,” while guitarist Stone Gossard takes a rare mic turn on the outtake “Don’t Gimme No Lip,” only its 14th time ever played live.
In addition, Stuverud’s presence is felt on “Quick Escape,” one of the heaviest new songs from Pearl Jam’s latest release, 2020’s Gigaton, and he has the bash-and-pop flavor of Keith Moon on the penultimate song of the evening, The Who’s “Baba O’Riley.”
“Thanks for this tonight. Thank you. I won’t forget this one,” Vedder said after the show-closing “Yellow Ledbetter.”
Sadly, Pearl Jam had another bout of bad luck post-Fresno, when Ament himself tested positive for COVID. The final two shows were canceled, leaving the three without Cameron as true outliers in the Pearl Jam live catalog. As Vedder said at Oakland night one, drummers are like engines, and for these unusual shows, it was a treat to experience how these different engines powered Pearl Jam’s music.
Jonathan Cohen is a veteran journalist and talent booker known for his work at Billboard, “The Tonight Show Starring Jimmy Fallon,” Variety and Spin. He is also the author of the 2011 New York Times-bestselling authorized biography of Pearl Jam, “Pearl Jam 20.”
Every Friday at 5 pm ET, nugs.net founder Brad Serling hosts “The Weekly Live Stash” on nugs.net radio, SiriusXM channel 716. Tune in to hear his selections of the best new live music, and check out this week’s playlist below featuring soundboard recordings from Trey Anastasio’s Billy Strings sit-in and Peach Fest set, Jack White in Hammersmith, and more from summer 2022 festivals and tours.
Every Friday at 5 pm ET, nugs.net founder Brad Serling hosts “The Weekly Live Stash” on nugs.net radio, SiriusXM channel 716. Tune in to hear his selections of the best new live music, and check out this week’s playlist below featuring soundboard recordings from Trey Anastasio’s Goose sit-in, Panic at Red Rocks, Dead & Company at Wrigley Field, and more from summer 2022 festivals and tours.
Arcadia Goose (w/ Trey Anastasio) 6/25/22 New York, NY
The Wrecking Ball tour was big on multiple levels, from the length of the shows (eventually reaching four hours, breaking Bruce’s all-time record), to the number of band members on stage (hitting 17 on occasion), to the scale of the venues—especially in Europe, where the 2012 tour hit stadiums across the continent… save for one special stand in Paris.
For reasons that have never been explained, when Springsteen brought the Wrecking Ball caravan to France to open the second half of the Euro leg, he downsized from stadiums back to arena-scale for just one pair of shows that fell on the fourth and fifth of July. Those back-to-back performances, which featured an impressive 44 different songs between them, have long been lauded as some of the best of the tour. In that spirit of bigness and in celebration of the ten-year anniversary of the gigs, it seemed only fitting to add both Paris 2012 shows to the Live Archive series.
The Paris concerts combined offer over seven hours of music and a bounty of special moments and performances. Here are several worth noting.
Bruce Springsteen & The E Street Band at Palais Omnisports De Paris-Bercy, July 4, 2012
The charms of the expanded 2012 band bear fruit in a delightful, unhurried version of “The E Street Shuffle” performed as a sign request. The song was played more in 2012 than any other year since 1975, when it thrived in a completely different arrangement. The Wrecking Ball tour edition takes advantage of the horn section, Everett Bradley’s percussion, and the E Street Choir on background vocals for a fully realized rendition that follows the original album structure of prelude, main song, and a storming, extended coda. In Paris, the crowd keeps singing the melody after the whole thing ends, indicative of just how into the show they are, and it compels Bruce to start the “E Street Shuffle” back up again for a second coda.
Springsteen keeps the Asbury Park setting, linking “Shuffle” to “Sandy” in his transition: “And then, down from town, about five blocks in on the boardwalk… if you listen hard, you could hear…” He sings the accordion-led, Fourth of July special in a low voice at times, adding a bit of age and wisdom to the tale, which on this night includes the sometimes-omitted third verse about the “waitress who lost her desire for me.” The background singers bring lushness to the final chorus as the sun sets on the boardwalk via Paris.
When Bruce opened his Fourth of July playlist for this show, he clicked them all—which means “Darlington County.” Stevie Van Zandt veers the song towards the edge of the Rolling Stones’ “Honky Tonk Women” before Bruce sings his first line about that memorable drive he and Wayne took from New York City all those years ago. The Paris take is long, with an extended horn and sax section at the end.
With Patti back on stage for the first time on the Euro tour, “Easy Money” returns to the set in one of only 18 performances ever. Bruce’s untamed falsetto vocals start things out, and one has to credit the Paris crowd for their consistently high level of participation as they sing along strongly here. Patti’s vocal contributions are a key element to “Easy Money,” which is why the song wasn’t performed without her.
In the most special nod to the occasion, Bruce moves to the piano for a rare solo-piano performance of “Independence Day.” Bruce released a video of this version in 2012 on his official YouTube channel, and it is great to have the audio available through the Live Archive series. Having played the instrument every night of the Devils & Dust tour, Springsteen’s piano playing is more confident than ever. Listen to the fine solo he takes in lieu of Clarence’s memorable sax before the third verse. Like so many older songs performed in this era, the bit of age in Springsteen’s voice only adds gravitas.
No Fourth of July performance would be complete without “Born in the U.S.A.” in its still-awe-inspiring, full-band arrangement. Bruce has no trouble finding his 1984 vocal range “forty years down the road” in a crackling rendition that puts the electric guitars on a level playing field with the synthesizers. Max Weinberg is also up to the task: while the horns add heft to the outro, Max smashes his legendary fills as hard as ever.
Bruce Springsteen & The E Street Band at Palais Omnisports De Paris-Bercy, July 5, 2012
If anyone needed a sign that the second show in Paris would be materially different from the first, look no further than the top of the set when Bruce and the band reel off six songs in a row not featured the previous night. Deviating from his own written setlist, the band starts what sounds for all the world like “We Take Care of Our Own” only to shift gears into a bright “The Ties That Bind,” led by Roy Bittan’s piano and rich with the voices of the background singers in the chorus and bridge. Jake Clemons takes a sharp solo, too. The stellar reading of “Ties” is followed in bang-bang succession by breathtaking runs of “No Surrender,” “Two Hearts,” “Downbound Train,” “Candy’s Room,” and lastly a scintillating “Something in the Night.” Fans in attendance said the July 5 show was truly something special, and you can hear that imprinted in Jon Altschiler’s full-bodied mix. The six-song start of the second Paris set is as good as it gets in the post-Reunion era.
In all, Paris night two boasts 15 changes from the previous show, including three certified epics starting with “Incident on 57th Street.” As vocal as they have been all night, the Paris audience treats the Wild & Innocent masterpiece with fitting reverence. Bruce tells Nils to take the initial guitar lead, which rises above Charlie Giordano’s swirling organ.
“Working on the Highway” and “I’m Goin’ Down” add a dose of levity and self-deprecation to the evening. The horn section and background singers give “Working on the Highway” a big jolt of energy, while the audience does the same for “I’m Goin’ Down,” yielding reinvigorated versions of both songs.
After a solo “Independence Day” on July 4, Bruce sits at the piano bench night two and delivers “For You.” This one is triumphant, reaching the heady heights of the song’s solo outings in 1975 (such as the extraordinary take on the Live Archive release of Greenvale, NY 12/12/75). Like “Indy” the night before, Springsteen plays the piano brilliantly, and he commits to every line of the lyrics to staggering effect. He also hits the last note resoundingly when he sings “When it was my turn to be the God.” As the kids say, “Chills.”
From “For You” straight into evening’s epic denouement, “Racing in the Street”—another time-defying performance. It can be difficult to describe in the written word what it feels like when a performer is in the moment, not simply performing their music, but embodying it, living the words and melodies anew. But you can hear it. That goes for every member of the band, too—special credit to Bittan and Bradley, first among equals in this performance of “Racing.”
The sequence of “For You” to “Racing in the Street,” and the top of the July 5 show as well, all capture Bruce Springsteen and the E Street Band performing in the moment. For years, they did so more consistently than any other band in concert. On this fantastic recording of Paris 2012, so many years down the road, they undeniably do so again.