Q+A With Star Kitchen

Star Kitchen is one of our favorite new projects. The band is the brainchild of The Disco Biscuits’ Marc Brownstein and Eric Krasno Band’s Danny Mayer. The supergroup also includes Rob Marscher and Marlon Lewis. Their performances explore the music of Stevie, Jimi, James, & more in new and interesting ways. We sat down with the band to talk about their shows on nugs.net and more.

Q: Tell us about the hidden gems in these releases. Do you have a stand out track or show from the batch?

Star Kitchen: I really love the Boat Cruise show in NYC. It was the first time that the band played as a four-piece without any guests at all, and it was a benchmark moment for the band. We hadn’t had the confidence to pull off a whole show without the help of some special treats along the way, but it was great. We pulled it off with a very small crowd, but huge energy. It has become our go-to recording to listen to in the van.

Q: What inspired you to start a funk forward project over all else?

SK: Really, the thing that inspired me to start this project was the Sharon Jones and the Dap King’s holiday album. Every year that is the go-to in my house. The songs are dope, and the band is the best. Ultimately, it brought me back to listening to funk in general, and I went through a deep stage of dissecting Greyboy All-stars jams. Then I went further back and started relearning all of the James Brown grooves and Aretha Franklin classics; and of course, I made a James Jamerson playlist and started playing along with that. I didn’t know how to make a funk band happen, but just as with everything, the universe did deliver this time.

Q: What are your hopes for how a new listener feels when they leave a Star Kitchen show?

SK: I feel like I want them to say, oh ok, I get it, it’s funk, but also it’s not. We are taking these songs that everyone has heard thousands of times, and many that you’ve never heard, and stretching them like rubber bands, as far as we can, in every direction. Recently, someone came up to me and said, “wow that reminded me a lot of what JGB used to be,” and I was like, this guy gets it. We are taking funk and soul tunes, and then taking everything we know from being experts in improvisation and applying it to those songs in our own way. That’s what JGB used to do, and that’s what this ended up being, not by accident. I am always the most influenced by the patriarch of the jamband scene.

The Many Sounds of Scarlet Begonias

Scarlet Begonias is one of the essential pieces of the Grateful Dead discography. The band first played the song in 1974 at the Daly City Cow Palace, just south of San Francisco. The song is one of the many Grateful Dead tunes to feature the brilliant lyricism of the recently passed Robert Hunter.

Since Dead & Company began touring in 2015, Scarlet has been a fixture of the band’s live show. Every member of the band gets a chance to shine throughout the song, possibly why the band often uses it as a set opener. It’s a great introduction to the show, after a 10-minute Scarlet jam, you know exactly what to expect from a Dead & Co. performance. There’s a reason you’ll hear Bob Weir exclaim “Just like a swiss watch” after the band opens their second set in Atlanta with the song.

There are over 150 versions of Scarlet Begonias streaming on nugs.net from Dead & Company, Bob Weir and Wolf Bros, JRAD, and tons more. You can also watch three different versions of the song from this year’s Dead & Co. summer tour below.

For more Dead & Company, pre-order webcasts of their six upcoming Fall Fun Run shows right now on nugs.tv.

Halloween 2019 Preview

Halloween is just around the corner. Bands love to go all out with tricks and treats for fans during their special Halloween shows. Each year we see performances filled with fun covers, spooky-themed setlists, and some killer costumes. We’ve put together a list featuring some of the thrilling shows we’re excited about this Halloween.

Dead & Company

Dead & Co. is joining the Halloween fun this year. We’re excited to see what surprises the band has in-store at Madison Square Garden on October 31st. If you can’t make it to NYC next Thursday, we’ll have a full webcast of the Halloween show on nugs.tv.

Greensky Bluegrass

We already know a little about what to expect from Greensky Bluegrass’ 2019 Halloween show. The band has announced their third “Totally Bitchin’ ’80s Halloween Party.”

Pigeons Playing Ping Pong

There will be plenty of Talking Heads and Cake at Pigeons Playing Ping Pong’s three-night extravaganza kicking off Halloween night. The run, titled “Stop Making Cake,” is bound to be a fun time. Ahead of the Halloween run, PPPP shared their official video for “King Kong” featuring Here Come The Mummies, everyone’s favorite mummified funk band.

Umphrey’s McGee

UM has declared that their Halloween show at The Anthem in Philly will be a hell-raising night of Halloween revelry. The band is keeping tight-lipped about their plans for this year’s show, but we do know they’ll be leaving the mashups behind in favor of a “festive surprise.”

Widespread Panic

Widespread Panic, New Orleans, Halloween. That’s all we know about this year’s Panic Halloween show. But then again, that’s about all we need to know.

The String Cheese Incident

SCI is promising extended Halloween incidents starting this weekend at Suwannee Hulaween, followed by two nights at The Fillmore in Philadelphia, and concluding with two nights at The Palladium in Worcester, MA.

Dead & Company Summer Recap

Dead & Company is hitting the road against later this month. Their Fall Fun Run kicks off on Halloween night and will feature six shows in three cities. If you don’t live in New York, Uniondale, or Hampton, you’re not out of luck. All six shows will be webcast on nugs.tv. Every webcast is available to pre-order right now, so make your plans and get ready for six spectacular nights with Bobby, John, Oteil, Jeff, Bill, and Mickey.

Once you’ve marked the dates on your calendar and pre-ordered the webcast, we’ve got you covered with everything you need to get ready for the band to take the stage. We’ve assembled a free YouTube playlist featuring 32 tour openers from the Dead & Company summer tour. Watch them all together and you’ll be primed and ready for October 31st.

There’s plenty of highlights in these shows from breathtaking venues to mind-blowing jams. This playlist recaps the full summer tour experience. You’ll travel with the band from Mountain View California to Dallas, Texas. You’ll make stops in legendary locations like The Patriots’ Gilette Stadium and The Chicago Cubs’ Wrigley Field. Then there’s The Gorge which is one of the most awe-inspiring stages in the world. This playlist is full of variety including “Shakedown Street,” “Bertha,” “Feel Like a Stranger,” “Here Comes Sunshine,” and tons more. Give it a watch and you’ll be primed and ready for Halloween.

New Archive Releases From The Allman Brothers Band Are Here

Our collection of shows from The Allman Brothers Band just got a whole lot sweeter. We’ve added a ton of new shows including performances from 2006, 2008, 2009, and 2014. This era of the Allman Brothers lineup included founding members Gregg Allman, Butch Trucks and Jaimoe along with percussionist Marc Quinones, guitarists Warren Haynes, and bassist Oteil Burbridge.

Most poignantly the lineup featured virtuoso slide guitarists Derek Trucks who is Butch Truck’s nephew. He originally joined with the group when he was a mere teenager. With Derek Trucks’ uncanny ability to reinterperate the late Duane Allman, Gregg Allman’s strong voice and Warren Haynes leading the way, this line up was truly the second coming of one of America’s greatest bands.

The energy of this era was explosive as the band hit a second peak in their career, with purpose, chemistry, and high on studio album releases which featured writing by not only the Allmans but also Oteil, Warren and Derek. Founding members Greg Allman, Butch Trucks and Jaimoe lead the band with their jazz infused classic southern blues. The jaw-dropping solos by Derek Trucks interplay perfectly with Warren Haynes tight rhythm guitar & sharp vocals, while soul-moving bass riffs by Oteil Burbridge create a deep foundation of funk n’ groove.

Greensky Bluegrass is Headed to Red Rocks

Greensky Bluegrass’ trio of Red Rocks shows this weekend promise to be some of their biggest performances of the year and we’re thrilled to be webcasting every moment on nugs.tv starting with tomorrow’s show. We’ll also have live coverage of Friday’s opening set featuring The Lil Smokies and Sunday’s Billy Strings performance.

This weekend will be the band’s first multi-night run since their own Camp Greensky festival which took place earlier this summer. If Camp Greensky was any indication, GSGB should have some fun surprises in store for us at Red Rocks. If you’re looking for a primer heading into this weekend’s webcasts, the Camp Greensky shows will be a great place to start.

Taking place in Wellston, MI, Camp Greensky 2019 featured sit-ins with Billy Strings, The Lil Smokies’ Jake Simpson, and tons more. The band also had some fun with the number two. Greensky Bluegrass mandolinist Paul Hoffman told us, “While we strive to make every show unique and special, maybe these ones are more special. We played two ‘two’ songs to celebrate our second year.” The first two-themed cover was Marvin Gaye & Kim Weston’s “It Takes Two” and was followed by Eddie Money’s iconic “Two Tickets To Paradise.”

Check out the Camp Greensky shows below and get ready for this weekend’s webcasts. We’ll see you at Red Rocks!


Woodstock Turns 50

It’s been half a century since 500,000 people made their way to Bethel, New York for the now-historic Woodstock Music Festival. The iconic festival didn’t come together overnight, in fact, it nearly didn’t happen at all. Finding a venue proved a difficult task for event organizers. Organizers didn’t land the famous dairy farm in Bethel until roughly a month before the first act would take the stage. Woodstock was billed as “An Aquarian Exposition: 3 Days of Peace & Music.” The Woodstock moniker wouldn’t come until later. Woodstock’s legacy lives on through just about every festival that takes place today.


Woodstock 1969 Lineup:

Day 1:

Richie Havens
Bert Sommer
Sweetwater
Melanie
Tim Hardin
Ravi Shanker
Arlo Guthrie
Joan Baez

Day 2:

Quill
Country Joe McDonald
John Sebastian
Keef Hartley Band
Santana
The Incredible Stringed Band
Canned Heat
Mountain
The Grateful Dead
Creedence Clearwater Revival
Janis Joplin
Sly and the Family Stone
The Who
Jefferson Airplane

Day 3

Country Joe and The Fish
Ten Years After
The Band
Johnny Winter
Blood Sweat and Tears
Crosby Stills Nash and Young
Paul Butterfield Blues Band
Sha Na Na
Jimi Hendrix


Listen to Woodstock

nugs.net subscribers can listen to these Woodstock performances on desktop, Sonos, and in the nugs.net app.

Jimmi Hendrix

Janis Joplin

2019 Red Rocks Collection

Red Rocks Amphitheatre is hands down one of our favorite venues in the US. The natural beauty that accompanies the sweet sounds of live music makes for a breathtaking experience. There’s a reason why it’s a must-visit location for nearly all of our nugs.net artists. Below you’ll find a collection of every Red Rocks performance we have from this year… so far.

The String Cheese Incident


Leftover Salmon


Widespread Panic


Umphrey’s McGee


Spafford


Dispatch


moe.


The Infamous Stringdusters


The Disco Biscuits


Papadosio


Twiddle


Lotus


Looking for video? We’ve got tons of videos from Red Rocks on our YouTube channel!

Festival Highlights

We’re celebrating festival season by looking back at some of our favorite festival performances including Dead & Company at LOCKN’, Red Hot Chili Peppers at Lollapalooza Paris, Pearl Jam at Voodoo Fest, Widespread Panic at Bonnaroo, and more from your favorite artists.


Dead & Company: LOCKN’ 2018

It’s always a treat to catch Dead & Company on the road, but this festival appearance was extra special. The Show opens with an incredible “Playin’ in the Band” that is later reprised with a tease during “Loser.” The band returned from set-break with a new addition, Branford Marsalis on Saxophone. Marsalis stuck around for the entire second set adding some wonderfully smooth flair to the set.


The Allman Brothers: Peach Festival ’14

One of The Allman Brothers Band’s final shows, this one is filled with stellar covers and guests. The show opens with a great cover of The Spencer Davis Group’s “Don’t Want You No More.” After “Midnight Rider” the band covered “Done Somebody Wrong” by Elmore James. Later, Taj Mahal joined for a cover of “Statesboro Blues” by Blind Willie McTell immediately followed by Ron Holloway joining for “Soulshine.” After that number, the band played Willie Cobbs “You don’t Love Me.” The final cover of the night was “Good Morning, School Girl” with guests Gábor Presser & Chris Karlic. After the Sonny Boy Williamson’s cover, Peter Levin joined the band for “Don’t Keep Me Wonderin’” and “In Memory of Elizabeth Reed.” 


Widespread Panic: Jazz Fest ’08

The opening “Walk on the Flood” form this Jazz Fest 2008 show is a great gem for Panic fans. Phish fans will love this Panic show featuring Page McConnell on “Love Tractor” and “Fixin’ to Die.” Wild Magnolias also join for a rousing take on “Drums” > ”Big Chief.”


Billy Strings: Blue Ox Music Festival ’19

This Billy Strings show is filled with some mesmerizing covers. The first cover of the show is a great take on “Southern Flavor,” by Bill Monroe and the Bluegrass Boys which was immediately followed by the Jerry Garcia & David Grisman song “Dreadful Wind and Rain.” Cory Walker joined for a lengthy cover of The String Cheese Incident’s “Black Clouds.” Next, the band covered “10 Degrees & Getting Colder” by Gordon Lightfoot before closing out the show with “Turmoil & Tinfoil.”


Greensky Bluegrass: Camp Greensky ’19

Greensky Bluegrass’ Camp Greensky returned to Wellston, Michigan last month for its second year. The band was in peak performance all weekend as the headlined each night of the three-day festival. To commemorate the festival’s second year, Greensky debuted a duo of “two” themed covers. The first was Marvin Gaye & Kim Weston’s “It Takes Two” and was followed by Eddie Money’s iconic “Two Tickets To Paradise.” 





New Releases 7/10/19

Dead & Company

Summer’s over for Dead & Company. The band wrapped up their 2019 Summer Tour last weekend in Boulder Colorado. Both nights were incredible. The first night in Boulder was a battle against the elements as the first set was quickly cut short by a rain delay. After roughly an hour, the band returned to the stage and played the full show with no interruption. It was breathtaking. After a full summer of shows, the band continues to surprise with incredible versions of the songs we love. As the tour came to a close, each member of the band got a chance to shine with some fantastic solos spaced throughout both shows.

Dead & Company’s Summer Tour is over, but the magic doesn’t need to stop. We’ve got audio from every night of the tour. The discounted box set includes every jam, every debut, every solo, and so much more. With 19 full shows, you’ll have plenty of content to keep you jamming until Dead & Co.’s next scheduled stop: Playin’ in the Sand 2020 at Rivera Cancun in Mexico.


The String Cheese Incident

Coming off their incredible Electric Forest performances, we were excited to see what The String Cheese Incident had planned for their next shows in the south. The incidents in Louisville and Atlanta were fantastic follow ups. Their Independence Day show in Louisville was filled with a pair of patriotic covers including James Brown’s “Living In America” and Bruce Springsteen’s “Born In The U.S.A.”

Ronda Thomas joined the band for three songs during the bands second night in Atlanta. The vocalist first joined midway into the first set for “Valerie.” Thomas returned during the second set for a tribute to Col. Bruce Hampton with a cover of “Yield Not to Temptation.” To close out the night, The String Cheese Incident invited Thomas back on stage for a performance of “I Wish” as the lone encore.


Metallica

The end of one era and the beginning of another, the newest archival release from Metallica reaches all the way back to January 1st, 2000. Being the band’s first show of the new millennium, this release is a must-listen for longtime fans. Highlights from this show include “Whiskey in the Jar,” “Mastertarium,” and the closing “Phantom Lord.”


Umphrey’s McGee

Umphrey’s McGee’s summer dates are in full swing now as the band tours all over the country. UM kicked off their July shows with performances on the west coast. Playing at High Sierra this weekend, the band welcomed Skerik to close out their set. The saxophonist joined for a thrilling cover of David Bowie’s “Lets Dance.” The band later returned for a festival encore that included “The Triple Wide,” “Hajimemashite,” and “1348.”

More New Releases:


Gov’t Mule – The Fillmore, Charlotte, NC


Railroad Earth – Asbury Lanes, Asbury Park, NJ


John Fogerty – DNB Arena, Stavengar, NOR


Leftover Salmon – Red Rocks Amphitheatre, Morrison, CO


Pigeons Playing Ping Pong – High Sierra Music Festival, Quincy, CA

Dead and Company Recap June 24 – July 2

Photo: Katie Friesema

Dead & Company has been all over the country this week. The band’s been truckin’ along to Bristow, Charlotte, Atlanta, and Dallas since June 26th. The highlight of the Bristow show came at the halfway point when the band closed out the first set with a killer version of “Throwing Stones.” John Mayer’s solo on the song is incredible. Two night’s later Charlotte got one of our favorite setlist arrangements of the tour featuring “Truckin’,” “Cassidy,” and a fantastic “Estimated Prophet” that led into “Eyes of the World” The next night saw the band heading down to Georgia for a night in Atlanta. The show featured a breathtakingly beautiful version of “Standing on the Moon.” Last night Dead & Company headed deep into the heart of Dallas, Texas. A couple of Texas-themed songs made their way into the setlist with “El Paso” and “Deep Elem Blues,” a reference to the famous Dallas neighborhood. The highlight of the night came near the end of the first set with a show-stealing version of “Sugaree” that is already becoming a fan-favorite.

Listen to every show from Dead & Company’s summer tour on nugs.net


Check out video from our recent webcasts

Bristow 6/26: Shakedown Street

Bristow 6/26: Here Comes Sunshine

Charlotte 6/28: Truckin’

Charlotte 6/28: Deal

Atlanta 6/29: Scarlet Begonias

Atlanta 6/29: The Other One

Dallas 7/2: Bertha

Dallas 7/2: Shakedown Street

Watch more Dead & Company videos on our YouTube channel

Watch Video From Widespread Panic at Red Rocks

Widespread Panic just wrapped their 2019 three-night run at Red Rocks. Selling out the iconic venue has become an annual affair for Panic at this point. Each night was filled with fantastic bust outs, rarities, and fan favorites. If you missed out on the sold-out shows, we’ve got exclusive video from our webcasts:

Listen to full show audio from each night:


Night One: Puppy Sleeps

Night One: Down On The Farm

Night Two: Ain’t Life Grand

Night Two: Climb To Safety

Night Three: Pilgrims

Night Three:
No Sugar Tonight/New Mother Nature

Dead and Company Recap June 7 – 23

We’re deep into Dead & Company’s summer tour and so far it’s been a treat to experience. Since The Hollywood Bowl we’ve seen some incredible setlist variations, a handful of new debuts, and the return of “Spanish Jam”! After playing in the heart of Los Angeles, the band ventured off the grid for two nights at one of America’s most scenic venues: The Gorge Amphitheatre. The first night featured a touching tribute to Jerry Garcia and the recently passed Dr. John. Night one at The Gorge also included the Dead & Company debut of “It Must Have Been Roses.”

Following a weekend stop in Noblesville, Indiana, Dead & Co. headed to Chicago for two nights at the legendary Wrigley Field. It was a rainy weekend in the windy city, but a little precipitation couldn’t keep the band down. The energy at Wrigley was incredible and it bled into the performance. Wrigley night one featured the fantastic debut of “To Lay Me Down.” The next night featured the welcomed return of “Spanish Jam,” entering the setlist for the first time since 2017. Three days later, Dead & Co. once again dipped into their archives, this time playing “In The Midnight Hour” at the Saratoga Performing Arts Center. This was the first time the band had played the Wilson Pickett cover in three years.

Since playing Saratoga, Dead & Company has been all over the Northeast. Last week, the band played Camden, New Jersey; Foxborough, Massachusetts; and New York, New York. Last night’s show at Citi Field in New York featured the return of another Grateful Dead classic, but it wasn’t a song. The special guest on this show was Wolf, the famous Guitar owned and used by Jerry Garcia dating back to 1973. John Mayer played last night’s show with Wolf and the performance was breathtaking. Dead & Company will be back on stage Wednesday, June 25th in Bristow, Virginia.

Listen to every show from Dead & Company’s summer tour on nugs.net


Check out video from our recent webcasts

The Gorge 6/7: Feel Like A Stranger

The Gorge 6/7: Here Comes Sunshine

Wrigley Field 6/14: The Other One > Mississippi Half-Step Uptown Toodeloo

Wrigley Field 6/14: China Cat Sunflower > I Know You Rider

Wrigley Field 6/15: Terrapin Station

Wrigley Field 6/15: Spanish Jam > Scarlet Begonias

Citi Field 6/24: St. Stephen

Citi Field 6/24: Lady With A Fan > Terrapin Station

Watch more Dead & Company videos on our YouTube channel

Tipitina’s Free Fridays Collection

Tipitina’s has been a staple in the New Orleans’ music scene since 1977. The iconic venue hosts New Orleans’ finest and funkiest musicians. Every Friday this summer Tipitina’s hosts free performances featuring incredible local talent and the party goes all night long. Tune in to nugs.tv every Friday to watch Tipitina’s Free Fridays live and discover your new favorite band! Below you can check out previous Free Friday’s performances, with more added each week.

5/24/19 Brassaholics & Erica Falls

5/31/19 Billy Iuso & Restless Natives + The Quickening

6/7/19 Johnny Sketch & The Dirty Notes, Aaron Benjamin, & Spencer Whatever

6/14/19 Stooges Brass Band & Brass Lightning

6/21/19 Dave Jordan & the NIA plus Motel Radio

That’s When My Love Comes Tumbling Down

Bruce Springsteen and the E Street Band

MetLife Stadium, East Rutherford, NJ, September 22, 2012

By Erik Flannigan

Part of what draws us to Springsteen concerts is the range of emotions they deliver over the course of a single evening. Songs of hardship and heartbreak intermix with those of liberation, love, and celebration. But on occasion, the mood leans strongly in one direction. Playing the third of three stadium shows on the eve of his 63rd birthday, and following a 120-minute weather delay, Bruce was of a mind to surprise and delight his hometown fans and set the energy dial to HIGH.

When attempting to describe the E Street Band in peak tour form, as we find them here, it can be difficult to resist cliches. East Rutherford 2012 evokes “well-oiled machine,” the attributes of which are fitting: smooth, powerful, polished, built to last. Jon Altschiller’s vibrant mix spotlights their outstanding playing and grabs the listener right out of the gate, an apt choice of words, as if there were a track announcer at MetLife she would surely be shouting, “They’re off and running.”

East Rutherford 2012 opens with ten straight, dare I say, bangers, ignoring any “it’s a marathon, not a sprint” advice in an effort to rouse fans who had been waiting patiently for hours.

The proceedings commence with the open invitation of “Out in the Street,” and the band-fan partnership is further reinforced via “The Ties That Bind” before a horns-accented “Cynthia” makes clear Stevie had a hand in this appetizing 34-song setlist. Bruce calls the Born in the U.S.A. outtake a Van Zandt favorite and a little bit of “E Street from the Underground Garage,” in reference to his pal’s Sirius XM radio show and channel. Lots of rockers + lots of rarities = Stevie’s unmistakable influence.

Turns out we’re just getting started. From there, “Badlands” into a fine “Who’ll Stop the Rain,” followed by guitar-crunching versions of “Cover Me” and “Downbound Train,” and the new-album three-pack: “We Take Care of Our Own,” “Wrecking Ball,” and “Death to My Hometown.” With that, the ten-track onslaught relents, and we catch our breath during a moving “My City of Ruins.”

The pace of the show picks back up with “It’s Hard to Be a Saint in the City,” still packing plenty of heat and preceded by an abridged version of Bruce’s Columbia Records audition story. A double shot with guest Gary U.S. Bonds (in fine voice) is another special treat, and the spirit of ‘81 is in full effect for a duet on “Jolé Blon” and a Bonds lead vocal on “This Little Girl.” The latter, a Springsteen-penned solo hit for Bonds, is performed for surprisingly only the fourth time ever with the E Street Band, which played on the original sessions.

After a Seeger Sessions-inspired “Pay Me My Money Down” come more rarities. As other live download releases have shown, “Janey, Don’t You Lose Heart” is a surprisingly tricky song to nail; this is a good one, riding an excellent Springsteen vocal. After “Janey,” Bruce realizes the clock has struck midnight, which means it is now officially his birthday. He asks the crowd for his song, and a stadium full of fans sings “Happy Birthday” back to him. Then, reaching all the way back to 12/31/80 without a soundcheck safety net, Springsteen summons up Wilson Pickett’s “In the Midnight Hour,” and damn if they don’t nail it. Sure, any self-respected horn section would know those parts by heart, but one can still marvel that an audible unplayed for more than 30 years can come off so strong.

The spiritual highlight of the night is the first and only Wrecking Ball tour performance of “Into the Fire” from The Rising. With MetLife mere miles from Ground Zero, the vividly detailed lyrics resonate deeply, and the richly layered arrangement, led by Springsteen’s tender, heartfelt vocals, reminds us this is one of his modern classics.

The third reel of this epic New Jersey tale continues apace, with “Because the Night” and “She’s the One” doing heavy lifting, “Working on the Highway” keeping things loose, and “Shackled and Drawn” making sure we’re grounded, too. The denouement arrives in the precious pairing of “Meeting Across the River” and “Jungleland” for the first time on the tour. With the stage bathed in indigo light, Curt Ramm’s bold trumpet refrain and Roy Bittan’s understated piano intertwine achingly, and Bruce’s vocal is on point: rich, measured, and world-weary. The passion surges to crescendo in the ensuing “Jungleland,” and like a dramatic stage revival, the Jersey street opera remains arresting.

“Thunder Road” provides release, “Rocky Ground” solemnity, and then party mode takes over. The rest of a lively encore romps through “Born to Run,” “Glory Days, “Seven Nights to Rock,” and “Dancing in the Dark” before we get to our final memorable moment.

“The boss of bosses has just come on stage,” Bruce says by way of introducing his mother Adele. Along with his in-laws the Scialfas and other family friends, she has come out to deliver a cake and sing a proper “Happy Birthday.” The birthday party ends the only way it could, with “Twist and Shout.”

“Thanks for a memorable birthday,” Bruce tells the crowd as he walks off stage. “My mother is for rent for $2.50 an hour for parties and Bar Mitzvahs.” A pretty good joke for two in the morning, and a funny, fitting end to one of the most electrifying shows on the Wrecking Ball tour.

Dead & Company Tour Recap: Shoreline & Hollywood Bowl

Dead & Company Summer Tour 2019 is here and what a week it’s been! We’ve gotten powerful performances of our favorite songs, a debut of the Grateful Dead’s “High Time”, and so many more special moments from week one. As always we captured every moment in our live webcasts. Before you tune in tomorrow for Dead & Company live at The Gorge, watch some of our favorite moments from the last week’s California shows below:

Order Upcoming Dead & Company Webcasts

Catch every moment from this summer’s tour including the first four shows when your purchase the Unlimited Devotion Pass on nugs.tv! Select the 19 Show package when ordering the webcast and you’ll get access to every Dead & Co. show of the summer.


Shoreline Amphitheatre:

Playin’ In The Band

Scarlett Begonia’s > Fire On The Mountain

Bertha > Good Lovin’

China Cat Sunflower > I Know You Rider


Hollywood Bowl

Cold Rain And Snow

Iko, Iko

Estimated Prophet

Countdown to Dead & Company Summer Tour 2019: 7 Days

We’re just 7 days away from the Dead & Company Summer Tour kickoff. The tour starts next Friday at the Shoreline Amphitheatre in Mountain View, California. To celebrate the start of tour we’re looking back at Dead & Company’s last outing. This January, the band journeyed to Mexico for their Playing in the Sand three day musical experience. These shows took place at the beachfront paradise of Riviera Maya and the experience can only be described as magical. Take a look at our videos from Playing in the Sand 2019 below:

Day 1


Shakedown Street

China Cat Sunflower

Day 2


Deal

Day 3


Sugar Magnolia

Scarlett Begonias

Check out last week’s Dead & Company blog feature for more highlights and videos!

Wilco Joins the nugs.net Family

Wilco’s collection of high-quality live recordings is now available on nugs.net. Dubbed the Roadcases, these shows are the best way to experience Wilco’s live performances anytime, anywhere. Subscribers can stream 65+ live Wilco performances recorded over the last 7 years right in the nugs.net app. Each show is professionally mastered so fans new and old will feel like they’re grooving in the front row. Check out highlights from the Wilco Roadcases below:


Roadcase 001: Red Rocks Amphitheatre, Morrison, CO 6/23/2012

Roadcase 023: Stubb’s Waller Creek Amphitheater, Austin, TX – 10/11/2013

Roadcase 045: The Riviera Theatre, Chicago, IL – 12/12/2014

Roadcase 047: Solid Sound Festival, North Adams, MA – 6/26/2015

Roadcase 071: Theatre at Ace Hotel, Los Angeles, CA – 10/08/2018


Check Out Our Full Catalog of Wilco Shows

Countdown to Dead & Company Summer Tour 2019: 14 Days

We’re just 14 days away from the Dead & Company Summer Tour kickoff. To prepare for the tour, we’re looking back at the best moments from last year’s run. This show comes from the Dead & Co. two night stop at Alpine Valley Music Theatre in East Troy, Wisconsin. During the first set, the band welcomed their first guest of the tour, Bon Iver’s Justin Vernon. The Wisconsin native sat in for the back half of the second set which included “Black Muddy River,” “Friend of the Devil,” and “Bird Song.” Vernon previously recorded a studio version of “Black Muddy River” with his old band DeYarmond Edison and Bruce Hornsby for The National’s 2016 “Day of the Dead” charity compilation.

The first set kicked off with “The Music Never Stopped” which was followed by “Easy Answers” and “Alabama Getaway.” Listen to the full set I opener below:

The band returned for their second set with their version of The Band classic “The Weight.” The entire second set was filled with highlight performances from an extended “Shakedown Street” to a superb version of Bob Dylan’s “Along Along the Watchtower.” Watch the set II opener below:

Check out last week’s Dead & Company blog feature for more highlights and videos!

Countdown to Dead & Company Summer Tour 2019: 21 Days

We’re just 21 days away from the Dead & Company Summer Tour kickoff. To prepare for the tour, we’re looking back at the best moments from last year’s run. Today we’re revisiting the Dead & Co. stop at The Gorge on June 29th, 2018. With sweeping views of the Columbia river, this show had a breathtaking backdrop to accompany an evening full of beautiful jams.

The first set got off to a great start with “Mississippi Half-Step Uptown Toodeloo,” which led into powerful versions of “Bertha” and “Tennessee Jed.” The next song was the Dead & Co. debut of “Mr. Charlie.” The early ’70s tune highlighted Jeff Chimenti on keyboard and John Mayer’s vocals and guitar. You can watch the entire “Mississippi Half-Step Uptown Toodeloo” below:

The second set opened with a joyously extended version of “Playin in the Band,” that was later reprised to close out the set. This version was another great example of Dead & Co. wading the classic song into the exploratory. Check out our full video of the “Playin in the Band” set opener below:

Check out last week’s Dead & Company blog feature for more highlights and videos!

NINETY-NINE AND A HALF WON’T DO

Bruce Springsteen

Meadowlands Arena, E. Rutherford, NJ, July 25, 1992

By Erik Flannigan

The 11-night stand at the Meadowlands Arena to kick off the 1992 U.S. tour was a bold statement of intent. It’s surely intentional that it was one show more than the famed ten-show run at the same venue in 1984, the difference being that this time Bruce was coming home with new friends, not familiar ones. Touring for the first time without the E Street Band and playing in front of what are arguably his most diehard fans is a daunting proposition. But with opening night jitters out of the way, the second show on July 25, 1992 offers a hungry, highly entertaining performance that plays to the new lineup’s gospel-meets-roots-rock strengths.

Right from the top, Bruce is wholly committed and in stellar voice, his rich timbre leading the strong show-opening trio of “Better Days,” “Local Hero” (complete with local landmark namechecks to show his Garden State cred remained intact), and “Lucky Town.”

As I wrote in the notes for the 1993 release at the same venue, Bruce’s new musical collaborators “wouldn’t have looked out of place on stage with [Bob] Dylan circa 1978-81,” and that particular Dylan-era frame of reference applies to the music, too, as the approach to both new and old material was to make it more soulful while still rock ’n’ roll. The playing of the core band (Shane Fontayne on guitar, Tommy Sims on bass, and Zack Alford on drums) with a full European tour already under their belts is punchy and tight, while the background singers add gospel gravitas to the proceedings–an appealing combination.

Even on familiar material, these off-E Street versions don’t sound quite as “different” 27 years on, in a good way. The opening set features a first-rate “Darkness on the Edge of Town,” an eloquent reading of “The River” with a long, heart-heavy harmonica outro, and an inspired tour debut for “Open All Night.”

Aimed squarely at this turnpike audience, “Open All Night” starts solo and builds to full band in a manner that may suggest what the unreleased “Electric Nebraska” version sounded like ten years prior. Better still, in the middle of the song, Bruce tells an updated version of the yarn he spun on the Born in the U.S.A. tour, noting the closure of his beloved Howard Johnson’s and a reunion with the waitress at Bob’s Big Boy who reminds him her restaurant is still “open all night.” Good fun.

The first set wraps with four key tracks from the new albums, wrapped around a deeply personal “My Hometown,” introduced with an earnest story about parenting and dedicated from one relatively new dad to all the “moms and pops.” A dynamic performance of “Living Proof” again shows the song to be Bruce’s most powerful from the era. “Leap of Faith” is endearing and infectious thanks in large part to the singers, while the Sam and Dave-style vocal duet with Bobby King on “Man’s Job” raises it from catchy ditty to heartfelt homage. A feature-length “Roll of the Dice” wraps a spirited and undeniably entertaining first act.

After the break, the rarely performed “All or Nothin’ at All” proves a fine set opener and gets the energy of the show right back on track. It’s the one song from Human Touch that sounds like it could be a Born in the U.S.A. outtake, a spiritual cousin to the likes of “I’m Goin’ Down.” The crowd enjoys it too, singing along in full voice when tasked to do so. Having been played in concert fewer than a dozen times, its inclusion here is a welcome opportunity for fresh appreciation.

What follows is another rarity and one of the highlights of the tour, “Ninety-Nine and a Half (Won’t Do),” inexplicably performed only this night (and at a private tour warm-up in June, suggesting it may have been considered for a regular feature in the set at that point). The gospel tune has been covered by everyone from Wilson Pickett to Creedence Clearwater Revival, but Springsteen’s version casts him as a humorous preacher questioning the commitment of men in relationships, while King, Carolyn Dennis, Angel Rogers and the rest of the background vocalists sing like they’re wearing choir robes. The result is amusing, cleverly arranged, and another lost gem rediscovered by the download series.

On the whole, the 7/25/92 performance has aged well, but there are a couple of exceptions. “Real Man” is another rarity, performed on 7/25 for the very last time in concert. Bruce himself admits, “This next song I almost threw off the album because I thought it was too corny, but what can say? It’s how I feel.” Corny we accept, especially from a man in love. More difficult to ignore is the synthesizer that could not sound more dated, though in the end, “Real Man” is interesting if only for the sheer novelty factor of it in the overall canon.

Three recent classics return us to regularly scheduled programming: a spot-on “Cover Me” with fine fretwork from Fontayne, and two Patti Scialfa features, “Brilliant Disguise” and “Tougher Than the Rest,” the latter derailed slightly by those pesky period synths, though Bruce sings all three superbly.

The show’s denouement comes with the pairing of “Souls of the Departed” into “Born in the U.S.A.” “Souls” begins in desert darkness, with news reports of bombs over Baghdad riding desolate guitar strains a la U2’s “Bullet the Blue Sky.” It is a sharp-edged, commanding performance that moves through flourishes of “The Star-Spangled Banner” a la Hendrix into “Born in the U.S.A.” to slam home the point Bruce made so clearly on last month’s release: “War. What is it good for? Absolutely nothing.”

The show wraps with a run of crowd pleasers–”Light of Day,” “Glory Days,” “Working on the Highway,” “Bobby Jean,” “Hungry Heart”–and the tour’s gorgeous, stripped-down “Thunder Road,” before “Born to Run” and Bruce’s best-ever coda,“My Beautiful Reward,” send us out on a high, hopeful note.

Because of the new band, 1992-93 always carries an asterisk in Bruce’s live history, like a strike-shortened baseball season. But as was the case in the major leagues, they still played the games and the games still counted, especially to Springsteen himself. One can feel his commitment in this performance, joyfully trying to win over the Jersey crowd and largely succeeding.

Countdown to Dead & Company Summer Tour 2019: 28 Days

We’re just 28 days away from the Dead & Company Summer Tour kickoff. To prepare for the tour, we’re looking back at the best moments from last year’s run. June 15th’s performance at New York’s Citi Field, home of the Mets, was one of the most popular stops of the 2018 tour. The entire show was filled with unique jams.

The show opens with a nearly 14 minute version of “Shakedown Street.” The extended jam showcases some of John Mayer’s stellar guitar work. You can watch to the entire opening performance of “Shakedown Street” right now on our YouTube channel:

This show really heats up in the second half. The second set got off to a jazzy start that led into John Coltrane’s “A Love Supreme” as the opening tune. Following the opener, Mayer got another chance to flex his guitar expertise on an extended guitar solo on “The Other One.” The set continued it’s journey into the exploratory with an extended performance of “Estimated Prophet.” You can watch all three jams below:

Check out last week’s Dead & Company blog feature for more highlights and videos!

Countdown to Dead & Company Summer Tour 2019: 35 Days

We’re just 35 days away from the Dead & Company Summer Tour kickoff! To prepare for the tour, we’re looking back at the best moments from last year’s run! Last July Dead & Co. played two spectacular nights at Folsom Field in Boulder, CO to close out the tour. These shows were a perfect cap on a great summer of music, especially the final night. The performance was magical, the crowd was fantastic, and the setlist was packed full of awesome jams.

The band opened the show with a hypnotizing version of “China Cat Sunflower.” The performance is a must watch. The crowd was having the time of their life while Dead & Co. was in peak jam mode. Watch the full set one opener:

Dead & Company returned for their final set of the 2018 Summer Tour with an absolutely mesmerizing “Scarlet Begonias” set opener that led into “Franklin’s Tower” and a breathtaking “Fire On The Mountain”. At the end of the night the band came back for two encores performing “Uncle John’s Band” and “Ripple” to the close out the tour. Watch the full set two opener:

Be sure to check out last week’s Dead and Co. blog feature for even more highlights and videos!

Countdown to Dead & Company Summer Tour 2019: 42 Days

We’re just 42 days away from the Dead & Company Summer Tour kickoff! 42 is of course famous for being baseball legend Jackie Robinson’s jersey number. It’s only fitting then that we revisit Dead & Company’s 2018 stop at LA’s Dodger Stadium, the team Robinson called home.

The band opened the show with “Playin’ in the Band”, a first-time opener for the summer tour. The unique take on the Grateful Dead classic slowly unfolded over 11 captivating minutes. Check out this cut from our webcast of “Playin’ in the Band” in its entirety below:

Dead & Company returned for their second set at a packed Dodger Stadium with a fantastic “Sugar Magnolia.” Check out our video of the jam below:

20 Classic Dave Matthews Band Shows Now Available

20 epic shows from Dave Matthews Band’s ‘Live Trax’ series are now available to download and stream. These historic live show compilations were named after the Trax Nightclub where the band found their sound and got their groove, playing over a hundred shows in their early touring years. DMB has been releasing the coveted Live Trax series since 2004. Now we’re making them available to stream for the first time ever! You can hop onto the nugs.net app and listen to classic Dave Matthews Band shows spanning over the course of fifteen years. From a small New York City nightclub in 1993 to the St. Louis Cardinals’ Busch Stadium in 2008, this collection has everything. Be on the lookout for even more DMB Live Trax releases on nugs.net soon!

Highlights

DMB Live Trax Vol. 2: Golden Gate Park – 9/12/2004

The show took place in the Polo Fields of Golden Gate Park and was a benefit concert for Bay Area Charities. From the moment the band hit the stage, the concert immediately became one of the highlights of Dave Matthews Band’s career. Carlos Santana sits in as a special guest for several songs, including the recently written Sugar Will. The 3 disc set also features two additional previously unreleased songs, Joyride and Hello Again.

DMB Live Trax Vol. 6: Fenway Park – 7/7 & 7/8 2006

Memories of the Dave Matthews Band shows in Fenway Park are certain to burn bright for a long while in the minds of the fortunate fans that were in attendence. Dave Matthews Band was on the top of its game in the historic ballpark performing back-to-back nights of shows exploding with energy. Additional highlights of the 7.7 Fenway Park show include the Bartender jam and the high-energy Ants Marching closer. An awesome Don’t Drink the Water, old favorite Dancing Nancies and the crowd-pleasing show ender, Two Step are some of the favorites from the 7.8 Fenway Park show.

DMB Live Trax Vol. 18: GTE Virginia Beach Amphitheater – 6/4/1996

This concert was DMB’s first show in the States after their European tour. Dave notes how the band is still taking in “this thing that’s been going on with us”, referring to the success achieved with the release of Crash. Highlights of the 96 show include Too Much, followed by never-before-released in the Live Trax series, “Deed Is Done” into So Much To Say. Carter’s intro to #36 is also noteworthy. The VA Beach home state show has long been a summer tradition.

DMB Live Trax Vol. 19: Vivo Rio – 9/30/2008

Dave Matthews Band performed at Vivo Rio in Rio de Janeiro, Brazil on September 30, 2008 in front of many South American fans seeing the band live for the first time. The audience in Brazil was ecstatic which comes through in the recording and DMB really plays up to their exuberance. Highlights include Carlos Malta on the wood fife in Say Goodbye, his influence bringing a distinct flavor and Brazilian sound. Burning Down the House followed by an arresting Two Step are also noteworthy as is an emotional The Stone. The synergy between the band members is evident throughout the show. Other songs of the note on the Rio release are the show-opener, Bartender as well as Grey Street which makes its first official live release performed by the new formation of band members.

Countdown to Dead & Company Summer Tour 2019: 50 Days

We’re just 50 days away from the Dead & Company Summer Tour kickoff! To celebrate we’ll be sharing some of our favorite moments from last year’s tour. The band opened their 2018 summer tour on the east coast, including a two-night stop in Camden, New Jersey. They opened the show with “Jack Straw”, “Cold Rain and Snow”, and “Deep Elem Blues”. Later in the set the band played a 10-minute “Cassidy” followed by a reprise of “Jack Straw” to close out the first set. You can watch the entire “Jack Straw” set opening performance below:

The band launched into their second set with a cover of The Crickets’ “Not Fade Away” followed by an impressive extended jam on “Dark Star” totaling over 20 minutes. The jam-filled night in Camden continued with “Black Muddy River,” “Drums,” and “Space” all appearing in the second set. You can watch the set opening “Not Fade Away” performance below:

New Releases This Week

The Disco Biscuits

April 9th 1999

We’ve got another 20th anniversary Disco Biscuits release this week. Back in 1999, The Disco Biscuits brought down the house at The Trocadero in their hometown of Philadelphia. The extended jams on “Above the Waves” and “M.E.M.P.H.I.S” will blow you away. The performance was so legendary that the band did an exact recreation of the first three songs of the ‘99 show when they returned to The Trocadero in 2014.


TAUK

Real TAUK Vol. 2

The first leg of TAUK’s Let It Ride tour was a high-energy romp packed with sold-out shows. As excitement builds for the second part of the tour, the band has hand-picked seven of their favorite tracks from the first leg to release for free. These stellar jams come from TAUK’s shows in Ardmore, Baltimore, Boston, and Newport News.


Umphrey’s McGee

March 29th & 30th 2019 – Nashville, TN + VIP Exclusive Set

We’ve got a special release for Umphrey’s McGee fans. In addition to both nights’ audio, we’ve also added their intimate 6 song VIP-only set from before the show on 3/30. The 3/31 show also includes a rare bustout of Led Zeppelin’s “Ten Years Gone” that they haven’t played live in over 15 years.


Widespread Panic

March 29th, 30th, & 31st 2019 – Durham, NC

Returning to Durham for the first time in 25 years, Widespread Panic played three rarity packed shows. On night three (March 31st) they dusted off “Bayou Lena” for the first time in nearly 350 shows. This show is full of classic jams and memorable covers, including their version of the Rolling Stones classic “You Can’t Always Get What You Want.”


Twiddle

March 29th 2019 – Rutland, VT

Playing their second sold-out night at The Paramount Theatre in Rutland, Twiddle brought down the house in their home state of Vermont. From “Lost in the Cold” to “JamFlowMan” there’s a lot of hits in this show. To close out the evening, Rick Reddington sat in on guitar and vocals for a cover of The Grateful Dead’s “Eyes of the World.”

TELL YOUR MAMA

Bruce Springsteen and the E Street Band

Memorial Coliseum, Los Angeles, CA, September 27, 1985

By Erik Flannigan

Memorial Coliseum, Los Angeles, 1985 represents the apex of Bruce Springsteen’s mass popularity. No concerts performed before or since represent the same level of mainstream cultural impact inherent in the final four performances that wrapped the mammoth Born in the U.S.A. tour.

According to the LA Times, on September 27, opening night of the sold-out stand, Bruce and the band played to 83,000 people. That means over the course of four sold-out shows, more than 330,000 people clicked the turnstiles at the site of two Olympic Games, to see not world-class athletes but the world’s greatest live performer. Staggering.

Springsteen long factored for the person in the very last row at his concerts, but now that fan was 100-150 yards from the stage. Scaling up production elements at stadiums to deliver a comparable level of band-to-fan connection was crucial, and that affected everything from the sound of Max’s drums and the quality and size of the stage-side video screens to the clothing the band wore on stage, which was brightly colored to help boost the visibility and discernibility of individual members from far away.

Los Angeles 1985 starts as it must with a dazzling “Born in the U.S.A.” Jon Altschiller’s zoomed-in mix (with a notably livelier audience levels) dials in a difficult-to-achieve balance of synthesizer and guitar. The deepest notes of the former provide a sternum-compressing whoosh that anyone who saw a BIUSA stadium show will remember; the latter more forward and clearer than we often hear on 1985 recordings. As Bruce sings, “long gone daddy in the U.S.A.,” we get some real chugga chugga licks, followed later by an extended solo that’s up there with the great ones that append the song on the 1988 Tunnel of Love tour. As for Max Weinberg, he absolutely crushes one of the best live versions of “Born in the U.S.A.” ever released.

At this point of the 1984-85 tour, the E Street Band was a machine in the best sense of that word, operating under both Bruce’s and the individual players’ master control. The transition from “U.S.A.” to “Badlands” is lush with Danny Federici organ swirls, and we can hear every band member in sharp detail right down to Clarence Clemons’ percussion.

LA 1985 is rife with distinct moments worth highlighting: Bruce singing out, “debts that no honest man could pay” with particular passion on “Atlantic City,” and matching that energy again for the last line of “Downbound Train”; the happiness in his voice ahead of “Glory Days” as he talks about turning 36 four days prior; Patti Scialfa’s soaring high notes that raise “Trapped” to full crescendo; Clarence’s under-appreciated solo on the same song releasing the pent-up tension that makes the arrangement so mesmerizing; the heightened peaks of the extended “Cover Me” that finally relent to the breakneck release of “Dancing in the Dark” (the exclusion of which from Live/1975-85 still puzzles); Roy’s best Jerry Lee Lewis impression splashing all over a rip-roaring and rarely played “Stand On It.”

But the E Street MVP this night is Nils Lofgren. LA 1985 is an opportunity for reappreciation of how much of the load he carried on the tour and the many spots when he shined. His intro to “Seeds” oozes dirtier than you might recall, and the hypnotic prelude to “I’m on Fire” alters the tone of the song significantly.

As Nils plays, Springsteen’s spoken introduction to “I’m on Fire” (omitted on Live/1975-85) subtly shifts the song’s narrative, too. He speaks of the struggles endured by his father and mother, and of his fear that, if he didn’t get out, whatever sense of hope and happiness was figuratively dying inside his dad would be his fate as well. Lying awake in bed, thinking dark thoughts like one of the characters he wrote about on Nebraska, the narrator confesses he understands how one could snap. It makes the “Hey little girl is your daddy home” that follows more of a disturbing dream.

What’s commendable given the circumstances and stakes surrounding LA 1985 is that Bruce is still taking risks and using his status to make a statement. The night marks the daring debut of Edwin Starr’s righteous anthem “War,” written by Barrett Strong and Norman Whitfield. With lyrics taped to his forearm, Springsteen tears into the anti-war cry, in a version appealingly raw compared to the finished track that would later become the first single released from Live/1975-85. For a man whose messages and political views had been co-opted and misinterpreted of late, “War” allows zero ambiguity, no more so than when Bruce implores, “Tell your mama!” Nils adds another compelling guitar intro here, as Bruce sounds his solemn warning that “blind faith in anything…will get you killed.”

The bulk of LA 1985 is made up of what might be called a refined stadium setlist, optimized for maximum impact in venues of this scale. Over the last 34 years, so-called stadium friendly material suggested something that couldn’t compare to the greatest theater and arena performances that preceded it. Yet listening today, one marvels at how skillfully the band is playing in front of 83,000, not merely showing themselves up to the task of reaching that distant back row but retaining the tightness, power, and nuance that made them the best live act in the world. In other words, don’t sleep on ‘85.

Stadium staples aside, let’s not overlook the second of the night’s world premieres. “Alright, let’s try it” serves as the rallying cry to the live debut of “Janey, Don’t You Lose Heart,” the charming Born in the U.S.A. outtake and “I’m Goin’ Down” b-side that is a kindred spirit to another equally enchanting leftover, “Be True.” Both share a certain mid-tempo melodic romanticism that marks a lot of the songs Bruce often left on the cutting room floor. It’s a winning version that curiously omits The Big Man’s recorded sax solo in favor of piano solo by The Professor. Listen for Bruce hooting encouragement and howling with glee as Roy takes the spotlight. He clearly likes Janey.

The show wraps fittingly with a cover of Creedence Clearwater Revival’s “Travelin’ Band,” resplendent with Clarence’s baritone sax, Roy’s piano fills, and nearly a dozen tour-stop namechecks. It’s the perfect selection for the end of the line, recalling the mystery train that left the station at a St. Paul arena 15 months earlier and wound up conquering the world by the time it came to a halt in LA, playing to an audience more than five times the size.

NEW RELEASES THIS WEEK

Jerry Garcia Band ‘Electric on the Eel’

Three shows, three years, one special venue- this massive new release is now available to stream and download on nugs.net. The Jerry Garcia Band made three stops at French’s Camp on the Eel River between 1987 and 1991- each of these electric sets is filled with classic Jerry Garcia jams and longtime collaborators. Joined by band members Melvin Seals, John Kahn, David Kemper, Gloria Jones, and Jacklyn LaBranch- these shows will be music to the ears of Grateful Dead fans new and old.

The release is separated into three shows: August 1987, June 1989, and August 1991 which is being hailed as the “jewel of the collection”. Each set includes signature renditions of classics, standards, originals, and some surprises all performed with the soul, passion, and playfulness the band had become known for.

The Electric on the Eel collection and over 150 shows from the Grateful Dead are available right now on nugs.net.

Widespread Panic

Night Three at the Capitol Theatre

For the first time in nearly three decades, Widespread Panic returned to the Capitol Theatre- and they came back with a bang. The setlist from this show is filled with classic jams that are sure to excite longtime fans. Add all three shows from the three night run to your cart and receive a 15% discount!

The Disco Biscuits

March 27th 1999 – Pittsburgh, PA

20 years ago this week, The Disco Biscuits closed out their Winter/Spring 1999 tour with a legendary east coast performance. You’ve got to check out the extended jam on The Dribble. Be on the lookout for more archival releases from The Disco Biscuits soon!

Spafford

March 24th 2019 – San Rafael, CA

Both sets are now available to stream online and in the nugs.net app. During the performance, the band paid tribute to the Grateful Dead’s “The Other One” while playing at the Phil Lesh owned Terrapin Crossroads.

Red Hot Chili Peppers Live At The Pyramids

Coming off of their Australia / New Zealand run, The Red Hot Chili Peppers will be playing live at the Giza Pyramids in Egypt this Friday. For those of us unable to make it to The Pyramids this weekend, the Red Hot Chili Peppers have a special treat planned. This Friday’s show will stream for free on nugs.tv!

This will be the first time a concert is webcast live from The Pyramids and the band couldn’t be more excited. The Pepper’s founding member and bassist, Flea, expressed his excitement in a recent Instagram post.

“I remember the first time the red hots played outside of la in 1983, I was beyond thrilled. We drove up to San Francisco and performed at I-Beam club. Man, we were international touring superstars I couldn’t believe it and it meant everything me to show those people in Northern California what we were about, to pour my heart out, for us to give every fiber of our beings in the process of bringing our music to life….. Then when we first went to Europe and my mind was blown, all the different cultures, connecting with people who didn’t speak English! And then Russia, and Asia and on and on around the world. Before each new place my body tingled with excitement, a yearning for a new mystery to unfold, a fascination with a new culture, the possibility of new friends, tasting new food, smelling new tastes, absorbing new rhythms. Learning. Learning. Learning. It is happening again right now, my heart is abuzz with joy at the prospect of performing in Egypt. I’m so grateful and humbled for the impending experience.”

To celebrate this historic show we are releasing nine new live shows from the band’s recent Australia / New Zealand tour for purchase today at nugs.net. These shows are packed with high energy and some awesome surprises including the first live inclusion of the 2003 single “Fortune Faded” in nearly 12 years. While in Australia, the band also paid tribute to Aussie legends, the Divinyls.

SONGS OF HOPE AND ETERNAL DAMNATION

Bruce Springsteen
Sovereign Bank Arena, Trenton, NJ, November 22, 2005

By Erik Flannigan

If one were to assign a single attribute to every tour across Bruce Springsteen’s career, audacious would be an apt one for the 2005 Devils & Dust tour.

Over the course of 72 shows, Bruce took the stage alone, surrounded by a phalanx of guitars and keyboards, fearlessly revisiting and reinterpreting every corner of his catalog down to the deepest nook and cranny. Be a song rarely or never played, or often played but never like this, night after night the Devils & Dust tour offered fascinating alternate readings of music we thought we knew inside-out.

Bruce’s new album of the same name, his third solo record, was the jumping off point, full of character-driven stories that fit squarely into what he declares in Trenton are the two types of songs he knows how to write: songs of hope and songs of eternal damnation.

Springsteen had an equally strong body of work in hand for his previous solo tour in support of The Ghost of Tom Joad, but in 1995-97, performing exclusively on guitar and harmonica, he was selective in what complementary tracks were added to the set. In fact, Bruce debuted a number of new original songs in the spirit of Joad over the course of that tour (some, admittedly, more lighthearted than the album, but still akin), while deep cuts were more selective.

The addition of piano and keyboards in 2005 unlocked dozens of other songs for inclusion and opened up tour setlists to remarkable levels. Bruce’s approach suggested the new D&D material connected to everything that came before. In hindsight, there’s a sense of Springsteen on a mission to look back at his songwriting accomplishments and take many of them back out for a ride to see what they would reveal, an early hint perhaps of his budding autobiographical mindset. Without a doubt, the self-effacing candor and humor with which Springsteen addressed audiences on the tour are precursors to the voice he would come to refine for Springsteen on Broadway.

Trenton 2005, the final show of the tour, captures all these aspects of the Devils & Dust journey wonderfully, with a setlist full of bold surprises and striking moments. It begins with Link Wray’s “Rumble,” a tribute to the electric guitar pioneer who helped shape the sound of rock ’n’ roll. On this night, however, acoustic guitar is the stringed instrument of choice, and we get several exceptional performances.

The Rising’s “Empty Sky” gets a strong solo airing, played with thumping purpose and pace. “Saint in the City” is transformed by a radical slide guitar re-arrangement and bullet mic vocals. The song remains one man’s boastful declaration, and there’s still plenty of heat and humidity in the air, but the locale has moved from Shore towns to somewhere along the Mississippi Delta. The result couldn’t feel more different. Bruce is clearly enamored with the approach and walks “Fire” down the same bluesy backporch path, with the bullet microphone giving the song a fitting AM-radio filter.

Reimagination is a touchstone all evening, and the next subject is “All the Way Home.” The solo acoustic rendition on the 2005 tour recalls demos for The River, sharing the spirit of Bruce’s 1979 compositions and the Power Station band version that could have been. Material from Devils & Dust holds its own in such company, with well-honed versions of the title track, “Long Time Comin’,” “Matamoros Banks,” and a beautifully sung “Leah.” He even pulls out a ukulele for a sing-along rendition of “Growin’ Up” towards the end of the set.

Springsteen’s keyboard playing, always carrying with it a seductive hint of performance anxiety, is one of the most memorable aspects of the 2005 tour. His willingness to take the risk again and again on songs he hadn’t played in decades is why Audacious is such an appropriate descriptor.

After a lovely and lilting electric piano version of “All That Heaven Will Allow” (the same instrument on which he so memorably performed “Tunnel of Love” on the previously released Grand Rapids 2005 show), Bruce acknowledges his tentative playing, telling the Trenton faithful that their applause at end of his piano solos was “anxiety clapping” that “he made it through.”

In truth, the passion in Springsteen’s piano and organ playing is much more important than the precision. Limited as he might feel it is, his keyboard expression creates intimate moments between the performer and audience heightened by that touch of uncertainty.

Trenton offers a treasure trove of piano, organ, and keyboard gems. Bruce resurrects “My Beautiful Reward” from Lucky Town with fitting majesty on pump organ and plays “Backstreets” with touching reverence, in one of but three solo piano performances on the tour. “Drive All Night,” revived for the first time in 24 years just a few shows prior, captures the conviction of an artist rediscovering the magic of a forgotten work. “Jesus Was an Only Son” gets an insightful preamble that is right out of the pages of Born to RunAnd who could imagine the three-ring circus that is “Thundercrack” could be tamed into such an entertaining solo-piano rendition and still carry the song’s evocative spirit.

For veteran setlist trainspotters, Trenton has a couple of bombshells. One of Springsteen’s most beloved early outtakes, “Zero and Blind Terry,” had not been performed since 1974 and never as a solo piano piece. It’s one of those romantic fairy tales that could have easily slipped onto Wild & Innocent, a Jersey fable that mythologizes young lovers trying to escape to a better life beyond Route 9. All the more fitting for a show in Trenton, but the idea that the song would be played at all, three decades after it wasn’t released, affirms the Devils & Dust tour mantra: I do not play these songs often. I have not played them on this instrument. I may not play them this way again.

The other shocker debuted the night before but is no less special. After hearing it himself on E Street Radio and thinking, “Hey, that one was pretty good,” Springsteen reignited “Song for Orphans,” not heard since 1973. Collectors know it from a demo recording that predates Greetings From Asbury Park, N.J., the album for which it was initially considered, though there is evidence to suggest Bruce considered the song for possible release all the way through Born to RunHere, joined by his otherwise off-stage keyboard accompanist Alan Fitzgerald on piano, Springsteen manages to blend the spirit of ’72 with ’05, rendering “Song for Orphans” and his most recent Devils & Dust material kindred works.

After some fun had with members of the extended Springsteen family on “Santa Claus is Comin’ to Town” and the Joad-tour arrangement of “The Promised Land,” Trenton comes to its pump organ epilogue. The meditative “Dream Baby Dream” provided the coda to most shows on the Devils & Dust tour and has no analogue in Springsteen performance history, as it builds wave upon wave of organ, synthesizer, and repeated vocal lines imploring us to “keep on dreaming” and “open up our hearts.” That it wouldn’t sound out of place over the end credits to a David Lynch film speaks to its peculiar and relentless brilliance.

Trenton 2005 is both the final show and the perfect summation of the Devils & Dust tour, when Springsteen chose night after night to go “cartwheelin’ up on that tightrope.”

FREE MUSIC THIS WEEK

LEFTOVER SALMON – STRINGS & SOL – PUERTO MORALES, MX – 12/8/18

This show is an epic live performance from Strings & Sol, a festival on the beach in Puerto Morelos, Mexico. Featuring the debut of the song “Everyone’s Talkin”.

DAVEY KNOWLES – OFFICIAL BOOTLEGS

Davy Knowles is a world touring blues guitarist, with a unique sound due to his combined folk-rock songwriting talents. This free compilation showcases his amazing sound. He has toured with The Rhythmy Devils and Gov’t Mule.

DOOM FLAMINGO

At its core, Doom Flamingo is a synthwave dance party featuring retro synthesizer sounds that conjure nostalgia for the music of 1980s pop culture. The project is a side project of Umphrey’s McGee’s bassist Ryan Stasik.

JOE RUSSO’S ALMOST DEAD – RED ROCKS – MORRISON, CO – 08/16/18

This special show from the JRAD crew features an insane cover of “The Bends” by Radiohead plus a number of your favorite Grateful Dead songs. Crack one open and enjoy.

TWIDDLE – PARADISE ROCK CLUB – BOSTON, MA – 12/30/18

 Everything we love about Twiddle appears in this show: long instrumental-improvs, smooth vocals from lead singer Mihali, and plenty of funky rhythms. Have fun head-bopping to this one, we sure did. Make sure you add to your “My Stash” soon because this free offer ends on February 12, 2019.

ASSEMBLY OF DUST – TERRAPIN CROSSROADS – SAN RAFAEL, CA – 04/23/16

Assembly Of Dust is led by former Strangefolk frontman Reid Genauer. This particular show has a smooth, laidback vibe that showcases the group’s rich melodies and meaningful lyrics.

THE STRING CHEESE INCIDENT – TRAVELOGUE – BEST OF 2018

The String Cheese Incident decided to offer fans this free show because it features the best live tracks of 2018. Highlights include special guests Jennifer Hartswick, John Kadlecik, and members of the Motet. Make sure you add to your “My Stash” soon because this free offer ends on February 17, 2019.

THE DISCO BISCUITS – CAMP BISCO – SCRANTON, PA – 07/14/18

In a headlining performance at their own festival, Camp Bisco, this show was picked by the band as one of their favorites from 2018 and it truly showcases their diverse range, melding electronic and jam as only they can. Among a monstrous 3 sets this show features songs done in their unique ‘perfume’ and ‘tractorbeam‘ styles along with a fan favorite ‘wheel set’.

REID GENAUER & FOLKS – NEW ALBUM – CONSPIRE TO SMILE

Reid Genauer, the frontman of Strangefolk and Assembly of Dust, worked with two dozen acclaimed musicians including Jennifer HartswickLEBO, Scott Metzger, and more to create his latest album, Conspire to Smile. A collection of covers and originals, this album contains songs about compassion and positivity, universal messages of love and strength.

AQUEOUS – TWO SHOWS FROM 2018

From Jam Cruise to Summer Camp, 2018 was an epic year for Aqueous and we have two of the bands favorite shows for you.

Crowbar – Tampa, FL – 11/10/18

Mile High Music Hall – Frisco, CO – 12/06/18

Both of these shows truly highlight their unique groove-rock stylings and exploratory jams. Check out the Frisco show then dig into their catalog to explore Tampa and more.

LETTUCE – THE ANTHEM -WASHINGTON D.C. – 11/03/2018

Lettuce brings a new vitality to classic funk, matching their smooth and soulful grooves with a hip-hop inspired urgency and hard-hitting rhythm. This recent show features the extraordinary talents of guest guitarist Marcus King along with a host of special guests from the DC area flexing their unique ‘go-go’ style of funk.

One More Fairytale

Bruce Springsteen and the E Street Band
St. Pete Times Forum, Tampa, FL, April 22, 2008

By Erik Flannigan

He was the first to fall.

Just 58 years old, Danny Federici died on April 17, 2008 from melanoma, the skin cancer for which he had been undergoing treatment since 2005. The disease eventually forced him to take leave of the E Street Band in November 2007, vacating a seat he had occupied since 1972.

Despite his nickname “Phantom” and onstage introductions like, “now you see him, now you don’t,” Daniel Paul Federici was a stalwart, symbiotic soldier perched at Springsteen’s side for nearly 40 years, going back to Bruce’s early groups Child and Steel Mill. His swirling organ and glockenspiel parts are as core to the E Street sound as Clarence Clemons’ saxophone. Max Weinberg summed it up perfectly when he described Danny’s role to Rolling Stone: “He was the glue that held the band together.”

Tampa 4/22/08 was the first show after Federici’s funeral, and the performance is as soulful as one would expect. But there’s something more subtle going on that becomes gradually apparent as one listens to Jon Altschiller’s inviting and wide stereo mix: while the audience is an essential catalyst, Bruce and the band are playing for themselves in Tampa.

After a preamble video tribute to Danny (set to the studio version of “Blood Brothers,” included here), the show proper begins on a deeply emotional note with “Backstreets,” played with purpose and conviction in a version that stands among its best contemporary performances. Maybe his throat was just dry, but when Springsteen’s voice catches a couple of times, one suspects the gravitas of the moment was getting to everyone.

A solid “Radio Nowhere” yields to “Lonesome Day,” and “It’s alright, it’s alright, yeah!” never felt more cathartic. Next, “No Surrender” is one of many songs that feel expressly chosen for the occasion and provide a foundation of nostalgia and reflection throughout the set. That being said, this is still the Tampa stop on the Magic tour, and the prevailing mood complements that agenda (even if it reduces the number of songs played from the album).

As it was most nights of the tour, “Gypsy Biker” is a high point. Roy Bittan’s piano playing channels his Power Station finest, while the Bruce and Stevie guitar solo shred-off provides a highly entertaining Listen to This, Eddie moment. Note to trainspotters who quibble about how much audience audio is heard on archive releases: you will be pleased to hear a woman clearly shouting Danny’s name in the left channel at the end of “Gypsy Biker.” You’re welcome.

Later, “Last to Die” soars with pulsating urgency (and more 1979 channeling by Bittan), and the spotlight shines sweetly on Van Zandt for a solo vocal turn towards the end of “Long Walk Home,” which has grown more majestic since Boston ‘07, the last released version from the tour.

In total, Tampa offers 12 setlist changes from Boston, only one of which could be called a rarity, but the allure of this show is a heartfelt performance, not an unusual setlist. Maybe it’s hindsight filtered by the circumstances, but the arrangements of “Atlantic City” and “Brilliant Disguise” sound distinctively restrained, and the band plays warhorses like “Darkness on the Edge of Town,” “Badlands,” “Out in the Street,” “The Promised Land,” and “Tenth Avenue Freeze-out” with marked vigor. As a wise man once said, “It ain’t no sin to be glad you’re alive.”

Moments of direct Danny recognition are just as gratifying, with back-to-back versions of “Sandy” and “Growin’ Up” that begin with Bruce warning an accordion-adorned Bittan, “Roy, you better get this one right now, somebody’s watching.” It’s an especially delicate reading, enriched by the Big Man’s baritone saxophone and Stevie’s joyous mandolin licks.

Introducing “Growin’ Up,” Springsteen says, “Alright, one more fairytale,” acknowledging, as he did on Broadway, his own myth-making and Federici’s invaluable role in the tale, set this particular night in Danny’s hometown of Flemington, NJ.

When it comes time to truly say goodbye to Phantom Dan, instead of reaching for an original, Bruce opts for the gospel standard, “I’ll Fly Away,” in its only Springsteen performance ever. The arrangement is a Seeger Sessions-style hootenanny, with Max out from behind the drum kit on tambourine, Garry W. Tallent on upright bass, and Charlie Giordano filling Danny’s big shoes (as he does capably and respectfully all night) on accordion. The sentiment of death as a pathway to freedom from suffering couldn’t be more fitting, as summed up by the song’s second verse:

When the shadows of this life have gone, now I’ll fly away
Like a bird from these prison walls I’ll fly away, I’ll fly away

“I’ll Fly Away” provides an emotional epilogue, but the denouement of the evening comes six songs before with “Racing in the Street,” presented in a widescreen print not always screened on recent tours. It is patiently paced, sung with sober richness, and played magnificently on piano by Bittan. Like “Backstreets,” this is as good as “Racing” has been performed in the 2000s.

As vital as Danny was to 40 years of Springsteen history, life goes on. The Tampa show is a rumination on both of those undeniable truths, because the stage is “a place where miracles occur,” as Springsteen said at Federici’s funeral the night before the show. “And those you are with, in the presence of miracles, you never forget. Life does not separate you. Death does not separate you. Those you are with who create miracles for you, like Danny did for me every night, you are honored to be amongst.”

FREE MUSIC THIS WEEK

JOE RUSSO’S ALMOST DEAD – RED ROCKS – MORRISON, CO – 08/16/18

This special show from the JRAD crew features an insane cover of “The Bends” by Radiohead plus a number of your favorite Grateful Dead songs. Crack one open and enjoy.

TWIDDLE – PARADISE ROCK CLUB – BOSTON, MA – 12/30/18

 Everything we love about Twiddle appears in this show: long instrumental-improvs, smooth vocals from lead singer Mihali, and plenty of funky rhythms. Have fun head-bopping to this one, we sure did. Make sure you add to your “My Stash” soon because this free offer ends on February 12, 2019.

ASSEMBLY OF DUST – TERRAPIN CROSSROADS – SAN RAFAEL, CA – 04/23/16

Assembly Of Dust is led by former Strangefolk frontman Reid Genauer. This particular show has a smooth, laidback vibe that showcases the group’s rich melodies and meaningful lyrics.

THE STRING CHEESE INCIDENT – TRAVELOGUE – BEST OF 2018

The String Cheese Incident decided to offer fans this free show because it features the best live tracks of 2018. Highlights include special guests Jennifer Hartswick, John Kadlecik, and members of the Motet. Make sure you add to your “My Stash” soon because this free offer ends on February 17, 2019.

THE DISCO BISCUITS – CAMP BISCO – SCRANTON, PA – 07/14/18

In a headlining performance at their own festival, Camp Bisco, this show was picked by the band as one of their favorites from 2018 and it truly showcases their diverse range, melding electronic and jam as only they can. Among a monstrous 3 sets this show features songs done in their unique ‘perfume’ and ‘tractorbeam‘ styles along with a fan favorite ‘wheel set’.

REID GENAUER & FOLKS – NEW ALBUM – CONSPIRE TO SMILE

Reid Genauer, the frontman of Strangefolk and Assembly of Dust, worked with two dozen acclaimed musicians including Jennifer HartswickLEBO, Scott Metzger, and more to create his latest album, Conspire to Smile. A collection of covers and originals, this album contains songs about compassion and positivity, universal messages of love and strength.

AQUEOUS – TWO SHOWS FROM 2018

From Jam Cruise to Summer Camp, 2018 was an epic year for Aqueous and we have two of the bands favorite shows for you.

Crowbar – Tampa, FL – 11/10/18

Mile High Music Hall – Frisco, CO – 12/06/18

Both of these shows truly highlight their unique groove-rock stylings and exploratory jams. Check out the Frisco show then dig into their catalog to explore Tampa and more.

LETTUCE – THE ANTHEM -WASHINGTON D.C. – 11/03/2018

Lettuce brings a new vitality to classic funk, matching their smooth and soulful grooves with a hip-hop inspired urgency and hard-hitting rhythm. This recent show features the extraordinary talents of guest guitarist Marcus King along with a host of special guests from the DC area flexing their unique ‘go-go’ style of funk.

FREE MUSIC THIS WEEK

THE STRING CHEESE INCIDENT – TRAVELOGUE – BEST OF 2018

The String Cheese Incident decided to offer fans this free show because it features the best live tracks of 2018. Highlights include special guests Jennifer Hartswick, John Kadlecik, and members of the Motet. Make sure you add to your “My Stash” soon because this free offer ends on February 17, 2019.

LOTUS – MISHAWAKA AMPHITHEATRE – BELLVUE, CO – 9/21/18

This show is the first night of an epic two night run at Colorado’s beautiful Mishawaka Amphitheatre, featuring in the pocket beats, constant teases, and non-stop grooves to keep the party going. Make sure you add to your “My Stash” soon because this free show offer ends on January 29, 2019.

LEFTOVER SALMON – FARMSTEAD AT LONG MEADOW RANCH – ST. HELENA, CA – 1/15/17

Leftover Salmon hand-picked this special acoustic show to give out to their fans. The 13-minute rendition of “Whispering Water’s” is a highlight of the show, along with an amazing cover of Bob Dylan’s “Tangled Up In Blue.” Make sure you add to your “My Stash” soon because this free show offer ends on January 29, 2019.

THE DISCO BISCUITS – CAMP BISCO – SCRANTON, PA – 07/14/18

In a headlining performance at their own festival, Camp Bisco, this show was picked by the band as one of their favorites from 2018 and it truly showcases their diverse range, melding electronic and jam as only they can. Among a monstrous 3 sets this show features songs done in their unique ‘perfume’ and ‘tractorbeam‘ styles along with a fan favorite ‘wheel set’.

REID GENAUER & FOLKS – NEW ALBUM – CONSPIRE TO SMILE

Reid Genauer, the frontman of Strangefolk and Assembly of Dust, worked with two dozen acclaimed musicians including Jennifer HartswickLEBO, Scott Metzger, and more to create his latest album, Conspire to Smile. A collection of covers and originals, this album contains songs about compassion and positivity, universal messages of love and strength.

AQUEOUS – TWO SHOWS FROM 2018

From Jam Cruise to Summer Camp, 2018 was an epic year for Aqueous and we have two of the bands favorite shows for you.

Crowbar – Tampa, FL – 11/10/18

Mile High Music Hall – Frisco, CO – 12/06/18

Both of these shows truly highlight their unique groove-rock stylings and exploratory jams. Check out the Frisco show then dig into their catalog to explore Tampa and more.

LETTUCE – THE ANTHEM -WASHINGTON D.C. – 11/03/2018

Lettuce brings a new vitality to classic funk, matching their smooth and soulful grooves with a hip-hop inspired urgency and hard-hitting rhythm. This recent show features the extraordinary talents of guest guitarist Marcus King along with a host of special guests from the DC area flexing their unique ‘go-go’ style of funk.

I’m Gonna Fight My Way Through All This Goddamn Darkness

Bruce Springsteen and the E Street Band
Madison Square Garden, New York, NY, May 23, 1988

By Erik Flannigan

Thirty years after it rolled across America and Europe, we continue to view the Tunnel of Love Express Tour as a career inflection point, a period marked by heart-heavy shifts in Springsteen’s life even as the concerts were taking place. Professionally, key relationships were evolving, too, as it is well established that the decision to tour with the E Street Band in support of what was really a solo album was not a foregone conclusion.

Even as Bruce and the band took to the road in February ’88, conscious decisions were made to alter established E Street archetypes. Band members switched their usual spots on stage, swapping sides to presumably shake things up. There was a subtle yet telling change to the billing, too, as the long-standing “Bruce Springsteen and the E Street Band” moniker was altered to “Bruce Springsteen featuring the E Street Band.” The core setlist for the tour served as another point of departure from the familiar (more on that to come).

Why making those moves seemed so meaningful at the time we can only infer, but Springsteen’s desire to do things differently was undeniable.

Today, the personal and professional changes surrounding Springsteen at the time (and what was to follow on both fronts) are inextricably tied to the Tunnel era and remain something of a filter through which we view the tour. Less considered is what powerful fuel both provided to 1988 performances.

Whatever switching stage positions or altering the billing effected, make no mistake: this was a full E Street Band outing, and the E Street Band has never played with more self-assurance than they do on the Tunnel of Love tour. The addition of the horn section only boosted the horsepower of their already mighty engine.

While one cannot presume to know what Springsteen was going through that year, an armchair psychologist might suggest that however traumatic and draining such a period of emotional upheaval may be, it can also trigger a profound recognition of what it means to feel alive. As you listen to Madison Square Garden 1988, there is a strong sense of a performer truly living in the moment. Pair that with a band playing at its peak and an ambitious setlist, and you have the stuff of the extraordinary.

How in the moment? Listen to Springsteen’s vocals on the final verse and chorus of “Boom Boom,” which careen between shrieking falsetto and full-throated bluesman. His scintillating guitar solo starting at 5:02 of “Born in the U.S.A.” and carrying on for well over a minute soars with the clarion ring of pure emotional catharsis. On the Darkness and River tours, Bruce laid it all on the line every night to convert the masses. At MSG ‘88, the motivation feels far more personal. Just maybe, performing itself is what provides a path through what he calls later in the show, “the goddamn darkness.”

And then there’s that incredible setlist. The Tunnel tour is notable for featuring so many non-album tracks and cover songs. MSG boasts five Springsteen originals not featured on a studio album: “Be True” (the River b-side, also released on Tracks), “Seeds” (a Born in the U.S.A. outtake, officially released in a live version on Live/1975-85), “Part Man, Part Monkey” (a Tunnel outtake, re-recorded during Human Touch and released as a b-side in 1992 and onTracks in 1998), “Light of Day” (covered by Joan Jett and Michael J. Fox in Paul Schrader’s film of the same name, but never released in studio form by Bruce himself) and “I’m a Coward.” Some may consider “I’m a Coward” a cover, and while it was clearly inspired by Geno Washington’s “Geno Is A Coward” (penned by Ronald Davis), Springsteen’s song bears little musical resemblance to the original and shares only a couple of lyrics (perhaps making it more akin to “Johnny Bye-Bye”). There are no known studio recordings of the song; “I’m a Coward” only exists in its Tunnel tour performances.

All five songs are in the baseline Tunnel setlist, which by Springsteen standards was relatively rigid, especially for the first couple of months of the tour. Things started to loosen up around the time of the five-night LA stand (from which the April 23, 1988 performance was previously released as part of the live download series). As the tour worked its way north up the coast and across the country on its last leg, a few new additions (notably “Have Love, Will Travel” and “Boom Boom”) stuck.

The setlist for the final U.S. show at Madison Square Garden strikes an enthralling balance between core Tunnel tour material, recent adds, and a couple of specials just for the Big Apple. In contrast to opening night of the tour in Worcester in February, there are 13 variations between the two shows.

To those five originals, MSG ‘88 adds seven cover songs: John Lee Hooker’s “Boom Boom,” Woody Guthrie’s “Vigilante Man,” Edwin Starr’s “War,” The Sonics’ “Have Love, Will Travel,” Arthur Conley’s “Sweet Soul Music,” Eddie Floyd’s “Raise Your Hand,” and Jackie Wilson’s “Lonely Teardrops.” Throw in two full verses and the chorus to Steppenwolf’s “Born to Be Wild” inside of “Light of Day,” and the count pushes to eight.

On top of that, Tunnel arrangements of “You Can Look (But You Better Not Touch)” and “Born to Run” are completely reimagined. “You Can Look” is performed in a rockabilly style similar to its earliest incarnation during the River sessions, while “Born to Run” is played solo acoustic, an affecting arrangement that survived all the way to Bruce on Broadway.

All told, nearly half the Tunnel setlist sits outside the core canon while also boldly eschewing such staples as “Badlands,” “Thunder Road” and “The Promised Land.” In fact, the only song that was a Tunnel tour regular from the stalwart Darkness on the Edge of Town is the pulsing, horn-driven version of “Adam Raised a Cain.” 1988 setlists were truly out of the ordinary, no more so than this night.

Madison Square Garden 1988 also features the first bonus track in the download series with the inclusion of “For Your Love,” recorded during the 5/23 soundcheck. The song was a modest hit for Ed Townsend in 1958. Springsteen’s interpretation moves the tune from earnest R&B ballad territory to something closer to light reggae. While that might seem like a stretch, on the Jersey Shore club scene just a year earlier, Springsteen sat in three times with reggae act Jah Love, and a bit of that vibe comes through here (and for that matter, in “Part Man, Part Monkey”).

“For Your Love,” like so many of the cover songs surveyed during the Tunnel tour, appears to be born from the kinship between Springsteen and the horn section. Led by Richie “La Bamba” Rosenberg, the five-piece Horns of Love brought a shared musical knowledge that made them utterly simpatico with Bruce’s fondness for lost pop treasures. Even as early tour setlists went mostly unchanged, tour soundchecks often featured wide-ranging covers, and eventually some of the songs they were playing for themselves found their way into the set proper.

The Horns of Love are essential to covers like the barnstorming “Boom Boom” and the Northwest garage-rock nugget “Have Love, Will Travel,” but equally so to the unique Tunnel arrangements of songs like “Cover Me” (powerfully tagged with a few lines from the Rolling Stones’ “Gimme Shelter”), the pile-driving “Spare Parts,” and, most strikingly, the aforementioned “Adam Raised a Cain.” “Adam” had gone un-played since the Darkness tour before being vivified in its 1988 edition. As impressive as the song was every night of the tour, the tag of Muddy Waters’ “I’m a Man” here adds even more declarative grit.

The sonic signature of the Tunnel tour is distinct, too, and Jon Altschiller’s mix accurately pushes Bruce’s and Nils’ guitars forward in the overall wall of sound. But the heart and soul of this Express are the horn section and Clarence Clemons, who together add exceptional texture, punch, and irresistible melodic runs all night long. The Big Man is on his game, and his showcase work on “Be True” remains a tour highlight, reigniting one of Springsteen’s finest b-sides. His hype-man vocal responses during Bruce’s evangelical intro to “I’m a Coward” are another slice of pure joy in MSG ‘88.

Let’s also credit the E Street Band for their sympathetic backing on Tunnel of Love tracks, some of which stand along Springsteen’s best songwriting ever. They may have begun as solo creations, but the live versions of “Two Faces,” “Brilliant Disguise,” “One Step Up” and “Tougher Than the Rest” are splendid, and in some ways more fully realized than their studio counterparts. Kudos, too, for the band’s ability to switch gears seamlessly, tackling Guthrie’s bluesy “Vigilante Man” (featuring Nils Lofgren on pedal steel guitar), Steppenwolf’s hard-rocking “Born to Be Wild,” and Jackie Wilson’s soulful “Lonely Teardrops” with equal flair. Special shout-out to Roy Bittan as well for his captivating piano introduction to “Spare Parts.”

The show goes into celebration mode after “Born to Run,” and even Jon Landau gets in on the fun, joining the band on guitar for the rest of the uplifting encore. The concert ends with “Lonely Teardrops,” one of only three performances ever. It’s a song about yearning and a fitting end to a performance that is equal parts heart-wrenching and exhilarating, two attributes befitting a ride through the Tunnel of Love.

Lights, Camera, Action

Bruce Springsteen and the E Street Band
Madison Square Garden, New York, NY, September 21-22, 1979

By Erik Flannigan

There’s a case to be made that Bruce Springsteen’s appearance at two MUSE benefit concerts in 1979 mark the moment he truly arrived, when his status as not merely a rock star but THE rock superstar of his era became undeniable. And not unlike similar moments that affected Bruce himself, specifically Elvis Presley and The Beatles appearing on the Ed Sullivan Show, the power of a filmed performance was a major contributing factor. After all, the No Nukes film (released in 1980) and, to a lesser but still important extent, the No Nukes triple album, were the first commercial releases to ever offer live Springsteen performances.

After spending the better part of 1978 playing to ever-growing crowds on the Darkness tour (including arena dates in top markets), Springsteen had become a major touring act. Better still, the legend of his three-hour concerts was spreading, and word-of-mouth reviews sounded like tales of religious conversion. The collective sentiment expressed by those who had been to a Bruce concert to those who hadn’t was simple: You HAVE to see this guy play.

But with the Darkness tour wrapped and the focus shifted to studio recording, it seemed there would be no chance to see Springsteen live in 1979. The pent-up demand to see Bruce in concert, particularly in his NY/NJ homebase where he hadn’t played since September 1978 (save for an on-campus gymnasium show at Princeton in November), was off the charts.

Meanwhile, in March 1979, an accident at the Three Mile Island Nuclear Generating Station near Harrisburg, PA, highlighted the risks of nuclear power to the entire nation and further galvanized the already active anti-nuclear movement. MUSE (Musicians United for Safe Energy) was formed soon after Three Mile Island by a group of like-minded artists and music-industry leaders, including Jackson Browne, Graham Nash, and Bonnie Raitt.

To raise awareness and money, the newly founded organization wasted little time in announcing The MUSE Concerts for a Non-Nuclear Future, five shows at Madison Square Garden in New York City. Two of those would be headlined by Bruce Springsteen and the E Street Band in their only concerts of the year (not counting the final Darkness show, Cleveland 1/1/79). Needless to say, ticket demand for September 21-22, the two nights Springsteen was scheduled to perform, was enormous.

Bruce and the E Streeters had spent much of the spring and summer in the studio at the Power Station on West 53rd, recording songs for what one year later would become The River. In fact, soon after the MUSE concerts, for which they paused to rehearse and perform, they considered stopping recording entirely and turning in a ten-song single album (eventually released in 2015 on The Ties That Bind box set).

While recording for The River would not only resume but carry on well into 1980, Springsteen was at least considering that his new album might be pretty much done when he took the stage on September 21. He was also two days away from his 30th birthday. Combine that with an eight-month layoff from the road, and it is no wonder he and the band played with such passion and ferocity at the two MUSE concerts, both presented/captured here in full.

Jon Altschiller’s new multi-track mix crisply captures the electric anticipation in the air as the band tunes up and blasts into “Prove It All Night” on 9/21, with Max Weinberg in particular adrenalized by being back on stage.

With a limited, 90-minute slot on the multi-artist bill it’s a bang-bang set both nights: “Prove It All Night” into “Badlands,” into “The Promised Land.”  What Bruce performs is in effect a mini Darkness concert that adds an important look to the future with the first-ever performances of his newly written masterpiece, “The River.” Introducing the deeply personal song the first night, Bruce says simply, “It’s for my brother-in-law”; the second night he says it’s for “my mother and my sister.”

While some finer details of the final arrangement of “The River” were yet to come, the emotional core of the song is fully realized. It is thrilling to hear these initial performances and to imagine what it would have been like to experience the song for the first time amongst the No Nukes crowd. My jaw would have been on the floor.

The look-forward to The River continues with “Sherry Darling,” shifting the mood materially with an “end-of-the summer song” and restoring the party atmosphere from the top of the show. From there, it is a race to the finish through “Thunder Road” (the performance from the second night is featured in the No Nukes film), “Jungleland” (a couple of particularly passionate versions), “Rosalita,” and “Born to Run.” All killer, no filler.

The two MUSE performances are relatively consistent, with the second night perhaps slightly less frenetic, as one might expect. The “encore” songs are where the changes come.

Night one we are treated to the delightful rendition of Maurice Williams’ “Stay” featured on the No Nukes album, a song which had been a regular part of Jackson Browne’s sets. Browne and his backup singer Rosemary Butler guest on the E Street version, as smooth a groove as any they’ve laid down. “Detroit Medley” also appeared on the No Nukes album in edited form, expunging some of Bruce’s hilarious “hazardous to your health” warnings and insurance pitching, which are restored here. The show closes with a 100 MPH cover of Buddy Holly’s “Rave On.”

The encore from night two repeats “Stay,” this time with the late Tom Petty sharing lead vocals with Springsteen and Browne, and wraps with a “Quarter to Three” for the ages, material parts of which made it into the No Nukes film.

The footage of “Quarter to Three,” which shows Springsteen giving it his all to point of collapsing on the floor and needing to be revived (in jest) by the band, preserved for all to see the unique magic of Springsteen in concert. The film also shows other artists reacting to the pre-show cheers of “Brooooce” (and acknowledging that Springsteen is the artist the crowd is really there to see), not to mention the incredible performances of “The River” and “Thunder Road” noted above.

Remember, at the time the No Nukes film was released in 1980, there was no MTV. Springsteen had never appeared on American television. You literally couldn’t see him perform without going to a concert until the No Nukes film opened that July. And when it did in the US, and later in the UK and Europe, tens of thousands of future fans saw with their own eyes what they had only read and heard about. Though he only appears on screen for perhaps 15 minutes of the film’s 103-minute run time, No Nukes managed to bottle up for the first time the essence of Bruce Springsteen in concert.

Finally, the No Nukes shows also marked Springsteen’s first overt foray into political activism. During the show, Bruce says it was Jackson Browne’s “sense of purpose and conviction that got me down here tonight,” and Browne’s commitment to the cause continues to this day. To honor that, $2 from each sale of No Nukes 1979 will be donated to Musicians United for Safe Energy, to support nearly 40 years of fighting the good fight.

Thinking Young And Growing Older Is No Sin


Bruce Springsteen and the E Street Band
Roxy, West Hollywood, CA, Oct. 18, 1975

By Erik Flannigan

When the Born to Run tour rolled up to the Roxy in West Hollywood in October 1975, the objective was to break Springsteen in Los Angeles with a high-profile, six-show/four-night residency at the small club, mirroring the famed Bottom Line run in New York in August. Incredibly, Springsteen had yet to play a proper headlining date in LA until the Roxy gigs. His only appearances in the area circa 1973-74 were as an opening act or sharing a bill with other Columbia Records talent at label-sponsored showcases.

The Roxy run came just a few days before Bruce would grace the covers of Time and Newsweek simultaneously, so while it wouldn’t be accurate to say he was flying under the radar, DEFCON 1-level hype was still to come. Though make no mistake, Columbia saw the Roxy shows as their chance to capitalize on the growing buzz.

As legend has it, opening night on October 16 was a show packed with music journalists and industry types, prompting Springsteen to declare the following evening (as broadcast on KWST-FM), “ain’t nobody here from Billboard tonight!” That phrase became the de facto title of one of the earliest Bruce bootlegs, pressed from a recording of the b-cast.

On October 18, night three of the run, Springsteen performed two shows (one early, one late) and Columbia arranged to have Wally Heider’s mobile recording truck parked outside to capture the performances for future release. The engineer was the late Ray Thompson, a legend in live recording, and the man who just a few months earlier had taped the shows that would go on to form the basis of one of the biggest live albums of all time, Frampton Comes Alive!

Though one song from this stand made it onto Live/1975-85, this marks the first-ever release of a full performance from the Roxy ‘75, the early show on October 18. That song was of course “Thunder Road,” which kicks off Live/1975-85 and represents the only pre-1978 track on the box. Though it’s familiar, hearing the performance restored to its proper context opening a full ‘75 show reinforces the audacity of the sublime, piano-first “Thunder Road.” Who opens a show with a completely reimagined version of the first song on their latest album? It’s a gutty and admirable artistic statement.

Following that stunning start, the rest of the band join in and launch into a winning and crisp “Tenth Avenue Freeze-out,” then roll into “Spirit in the Night.” Listening to the truly you-are-there mix by Jon Altschiller (complete with clinking glasses and bottles), one can’t help but recognize the audience’s relative unfamiliarity with the material. If you’ve listened to a lot of live shows, even circa-1975 East Coast crowds knew “Spirit in the Night” inside out; here the reactions to the stops and starts of the tale unfolding sound more intrigued and surprised.

That’s because the tiny Roxy was packed with fans who had never seen Bruce perform before. “[I’d like to] thank the folks that came out and seen us last year and the year before in Santa Monica,” Bruce says, met by nary a clap or cheer. “I don’t know if there is anybody….[Laughs] Nobody made it to that one.”

Aside from the guy who yells, “I was at the Troubadour,” and perhaps a handful of others, the Roxy crowd was the Springsteen-curious, and some of the pleasure of this exquisite recording is that over the course of the show, we get to hear and bear witness to their conversion into fans.

A big first step towards that comes with “E Street Shuffle,” in which every member of the E Street Band shines, but especially those oh-so-sweet swirls from Danny Federici’s organ cabinet. Remember, “E Street Shuffle” is another radical rearrangement from what anyone would have heard on the second album, and after Bruce tags Sam Cooke’s “Having a Party” onto the end, audience applause moves from like to love.

Cover songs were a major feature of Born to Run tour setlists, especially songs from the ‘60s that shaped Springsteen’s musical palette. With the Roxy, we get the first official release of the enchanting “When You Walk in the Room.” Written by Jackie DeShannon and a hit for the Searchers, the song is a perfect vehicle for Bruce and the band to show their Merseybeat-via-Jersey Shore chops. If this performance doesn’t raise a smile, it’s time to resign your fanclub membership.

“She’s the One” and “Born to Run” dial up the intensity, both impeccably performed in powerful, pacey versions that underline the outstanding mid-tour form of the band. When one of the few familiar fans shouts for “Sandy,” Bruce complies, and despite its unusual position in the set (it was typically an encore song in ‘75), the heartfelt version delivers a welcome mid-show change of scenery.

While a hint of vocal raspiness suggests Springsteen may not have started the show feeling 100 percent, you’d never know it from the performance, which was escalating already and goes next-level following “Sandy.” Gorgeous organ, guitar and piano interplay start “Backstreets,” in a performance that evokes the Dylan lyric, “bathed in a stream of pure heat.” There’s no denying the versions of the song performed in ‘77 and ‘78, but this is a tremendous 1975 “Backstreets.”

After wrapping themselves in glory all night, the band steps into the spotlight for “Kitty’s Back.” The small venue and the recording quality combine to reveal gorgeous musical details: every subtle click sound of Danny’s organ keys; Garry Tallent paying homage to Donald “Duck” Dunn; Roy Bittan weaving in the melody of “Fever” (the one made famous by Peggy Lee). Listen around 15:45 for a rare isolated backing vocal by the Professor after Clarence Clemons switches back to sax. Such a treat.

The last song in the set from Born to Run is “Jungleland,” and we’re granted another exquisite reading, highlighted by Stevie Van Zandt’s redolent guitar solo and Danny’s delicate and doleful organ that flows out of the Clemons’ roaring solo. Phantom Dan and the Big Man ultimately yield to Bittan’s stately piano, upon which Springsteen leans into his vocal rasp, spurring some beautiful rephrasing of the song’s fifth verse, notably the line “refusal and then surrender.”

A storming “Rosalita” wraps the main set and leads to chants of “WE WANT MORE” from the newly converted. Who can blame them?

Yet instead of reaching for a standard BTR-tour encore, Bruce opts for a striking and revealing cover. “This is a Carole King song. It was done on one of the early Byrds albums…which is my favorite LA band, I guess….Also Nils Lofgren did a nice job with the song on his last album.”

Goffin and King’s “Goin’ Back” captures the yearning for lost innocence, and given what was going on in Springsteen’s career at the time, the song seems a fitting reflection of his thoughts and feelings in gorgeous, romanticized ballad form. Springsteen debuted “Goin’ Back” with King herself in the audience at the first Roxy show, but he never played the song again after performing it at all six shows in this stand.

Ten years later, standing on the precipice of another major career milestone, Bruce stuck a kindred note with his one-off performance of Brian Wilson’s “When I Grow Up (To Be a Man)” at Slane Castle ‘85, also never played in concert again. We’re lucky such a fleeting moment of emotional transparency is captured so beautifully by this recording.

Earlier in the show, microphones pick up someone shouting that it is Chuck Berry’s birthday, which no doubt prompts the appearance of a rowdy and raucous “Carol” to close the encore and a marvelous set.

The Born to Run tour is well documented by Hammersmith Odeon London ‘75 and Tower Theater 12/31/75. But more than 30 years after the inclusion of a single track on Live/1975-85, Roxy ‘75 gives us all the magic in the night that “Thunder Road” hinted at and our most intimate opportunity to date to hear, in the words of King, “the world the way it used to be.”

 

Maximum R&B


Bruce Springsteen and the E Street Band
First Direct Arena, Leeds, England, July 24, 2013

By Erik Flannigan

Looking back today, as Springsteen winds down over a year of solo shows in a 975-person theater, the 2012-13 Wrecking Ball tour stands in stark relief. Far from going it alone, Bruce augmented the first E Street Band tour of the post-Clarence Clemons and Danny Federici era with a horn section, back-up singers, and a percussionist for his biggest on-stage line-up since Dr. Zoom and the Sonic Boom. It was a band built for stadiums, and many did it play, including two runs through Europe in consecutive years.

But upon his return to the United Kingdom in the summer of 2013, it is said Springsteen himself requested that he and the band christen the newly constructed First Direct Arena (also known as Leeds Arena). The 13,000-seater is configured so all seats face the stage, and it boasts superior acoustics because it wasn’t designed for basketball or hockey like most arenas. “This is a great room,” Springsteen tells the Leeds faithful. “You play anything in here, it’s gonna sound good.”

Moving his biggest band indoors from stadiums and in doing so becoming the first artist to play the state-of-the-art “super amphitheatre” would prove to be a tasty recipe for a memorable performance. Leeds 2013 is not only chock full of treats, but it captures Bruce and the band at their road-tested yet relaxed best.

Bruce fires the special-setlist flare right from the start, opening the show with a rare and potent “Roulette.” It’s the first shot in a staggering top of the show that continues with “My Love Will Not Let You Down” into “No Surrender.” With the final note of “No Surrender” still sustaining, the set slides down gorgeously into “Something in the Night,” a performance that reinforces the song’s beauty and majesty. The same can be said for “American Skin (41 Shots),” a tale as relevant, a crescendo as cathartic today as ever. Perhaps it is going too far to call both songs underappreciated, but the pairing here reinforces their stature in Bruce’s songwriting canon.

The mood lightens through “The Promised Land” and “Hungry Heart,” leading to a trio of tour premieres, the kind of sequence many fans dream of, where it feels like anything can (and will) happen. It commences with the delightful “Local Hero” from Lucky Town, a song rarely performed with the E Street Band and arranged here (in its only Wrecking Ball tour appearance) as a best of both worlds, matching E Street muscle with backing vocals a la the 1992-93 tour courtesy of the E Street Choir.

Turns out fans aren’t the only ones who appreciate rare tracks. “Steve always complains that we don’t play anything off this record,” Bruce admits, introducing “Gotta Get That Feeling.” “This is an outtake from Darkness on the Edge of Town…for Steve Van Zandt.” As Springsteen counts the song in, he is interrupted by a spontaneous chant of “Steven! Steven!” as the crowd voices their support for the man and his request. A Stone Pony benefit set and the 2010 promo shoot at the Carousel in Asbury Park notwithstanding, this is the only tour performance of “Gotta Get That Feeling” to date, and the expanded band does it justice, with horns soaring and Steve’s harmony vocals pure soulfire.

Surprises continue, as Bruce heeds a sign suggestion from a traveling Spanish fan for Creedence Clearwater Revival’s “Bad Moon Rising,” arranged on the fly and performed with exuberance and fearlessness earned through months and months of successful rounds of “stump the band.”

“We’re gonna try one more crazy request,” Bruce says, extending the controlled chaos. “‘Thundercrack’…was written to be our first showstopper. This used to end our set when we [would] play for crowds who didn’t know us at all.” After name-checking some of the acts they once opened for (among them Black Oak Arkansas, Sha Na Na, Mountain, and Aerosmith) and warning the audience the middle of the song could prove tricky, Bruce and the band confidently crush “Thundercrack” in its only 2013 outing.

While Leeds boasts ample rarities, Wrecking Ball material gets its due as well, with robust versions of the title track, “Death to My Hometown,” “Shackled and Drawn” (aided by a fine gospel-tinged solo from Cindy Mizelle), “Land of Hope and Dreams,” and “This Depression.” Making its last appearance to date this night (and one of just seven performances ever), “This Depression” impresses through its admirable lyrical candor, gripping arrangement, and affecting musicality. It’s a performance that should win over a few converts, and the coupling with “Because the Night” is another slice of Leeds’ setlist genius.

To the encore, and Springsteen has one more trick up his sleeve, bringing “Secret Garden” back to the set for the first time in 13 years, moody, measured, and matrimonial. Credit Jake Clemons for doing right by his uncle with a poignant sax solo to bring the song to conclusion. Sublime.

A marvelous night in Leeds concludes with a scarce Wrecking Ball tour airing for “If I Should Fall Behind” followed by “Thunder Road,” both performed solo acoustic. Towards the end of “Thunder Road,” Bruce invites the audience to join him in singing, “La da, da, da, da,” which they do in full voice, giving back generously to the performer who gave so much to them all night long.

Leeds may be the fourth archival release from the Wrecking Ball tour, but it stands strongly among those peers on the strength of its distinctive setlist, stellar performance and the sense of Springsteen’s personal motivation to showcase his expanded band in this optimal indoor venue.

We’re Gonna Play Until the Sun Goes Down


Bruce Springsteen and the E Street Band
Olympiastadion, Helsinki, Finland, June 16, 2003

By Erik Flannigan

Come on up for the rising. At long last, the first live archive release from the Rising tour is here: Helsinki, Finland, June 16, 2003.

What took so long? Let’s address that right off the bat.

The detailed answer is quite technical in nature, but in a nutshell, Rising tour recordings were made on what was then a state-of-the-art DSD (Direct Stream Digital) system, the first to offer high-resolution audio in an easily transportable, multi-track recording unit. But 15 years later, the proprietary nature of the software and hardware elements in that system have caused what might best be described as forward-compatibility issues, making it challenging to restore the original recording files. Helsinki is the first successful result of ongoing efforts over the last several years to address the problems.

Listening to the show now, one would never know how difficult it was to recover the multi-track recordings, as Jon Altschiller’s crystalline mix shines brilliantly and brings out fine details in the lush arrangements of the Rising material featured. Helsinki is a Rising showcase, offering nine songs from the album performed with gravitas befitting much of the subject matter.

While but one tour removed, the spirit captured in Helsinki is quite distinct from that of Chicago ‘99 released last month. The playing is equally accomplished, but there is more narrative unfolding, more stories being told in a very intentional manner. It makes the contrast between heavier material like “You’re Missing” and “Into the Fire” and that of lighter fare like “Mary’s Place” stark, with the night’s high-spirited songs offering release and relief, recognition that there is light beyond the darkness. Different tour, different mission.

Exemplary of this solemn and bold approach is “Into the Fire,” which opens with Patti Scialfa’s haunting vocalization and Springsteen’s most direct lyrical reference to 9/11. When the band kicks in majestically before the second verse, we can only marvel at the sympathetic support. Nils’ pedal steel bends expressively throughout, and while she has performed with the E Street Band ever since, Soozie Tyrell’s contributions have never felt more vital. She’s the musical lynchpin of the song, and she pulls significant melodic weight all night long. Even “Dancing in the Dark,” performed in what is otherwise its purest form since the 1984-85 tour, deftly downplays synthesizer in favor of Tyrell’s violin carrying the melody.

It seems apropos that nine Rising songs are paired with seven from Born in the U.S.A. Sure, this is Bruce and the band’s first-ever show in Finland, so drawing from their most popular album makes sense. Yet the incorporation of so many tracks from both records also suggests that their characters and stories are intertwined, that the people who inhabit “My Hometown,” “No Surrender,” and “Glory Days” went on to experience what unfolds across The Rising later in their lives. Hearing so much from both chapters of that narrative makes Helsinki powerful.

Powerful is a word that stays top of mind listening to the full 25-song set, which by Springsteen standards is as focused and straightforward as any I can recall — with the exception of a delightfully shambolic “Ramrod,” which rolls on for more than 12 minutes including an extended piano solo by Roy Bittan.

The evening’s catharsis peaks with “My City of Ruins,” its gospel-tinged musical cleansing perfectly positioned as a restorative in the encore and the ideal segue to the life-affirming “Land of Hope and Dreams.” A potent pairing.

On its debut, the Helsinki audience impresses, singing along and responding passionately, as evidenced by the call and response at the end of “My Hometown.” The same can be said of the band, performing with utter confidence and control.

As for Springsteen himself, he sets the tone for the night at the start with his bluesy, solo-acoustic “Born in the U.S.A.,” a version that is impassioned and world-weary all at the same time. Informed by that prelude, there’s a sense of purpose to this performance, a commitment to telling stories that reflect some of our darkest and lightest moments. And that is the essence of the Rising tour.