I love the taste of a double shot - https://live.brucespringsteen.net/packages/2,1226/Bruce-Springsteen-Paris-2012.html - and this one is even sweeter than the Nassau duo in July 2019!
And yes, I say the latter because of this: http://www.backstreets.com/news.html - contrary to my comments about not sharing reviews anymore, I'll happily share this one of July 4th!*
*And of course, Hal's review of July 5th is pretty damn good!
Maybe more examples of Bruce's magic trick...
Commentary around the five songs after the Ties That Bind opening on Night Two is that they were all audibles. I.e. not expected, done 'on the fly' to some extent. The written set list not including them adds to this story. Yet, watching this video (which I'd never seen before tonight) makes me wonder. There is no visible Bruce 'running around the stage' telling band members what to do like I've seen reported. He cues Max, calls out 'c'mon, Stevie' for two songs, but otherwise everyone falls in pretty easily. Roy's beginning to 'Something In The Night' is particularly notable for how little Bruce actually interacts with Roy to get him to intro, well, Something In The Night. I think this 5 song 'rarity' stretch was pre planned as a possible alternate opening to the set and Bruce's 'c'mon Stevie' cued it, with another 'Stevie' and cues to Max confirming to keep this pre organised roll of rare songs running. Still, it's all entertaining as hell and I'm still grinning watching it even while punching balloons...
I don't know, I must be some bizarro outlier in the Springsteen fan base. Not so much here, but elsewhere on other forums, people complain about the WB tour. And most of what they complain about is the stuff I love the most about it... the extra backing vocals, the horns, the anything and everything is on the table free-wheeling nature of it all.
Due to both age and geography, I never saw Bruce live in that 78-81 period where so many folks who did had their personal 'road to Damascus' Bruce moment. I think the overwhelming nature of what those folks saw has locked some of them in to a narrower definition of what is 'peak' or even 'essential' Bruce.
For us that came aboard via BITUSA or after, and maybe didn't get to see him live until later, it's a different journey. BITUSA opened the gate, Live 75-85 put me squarely on the train as a rabid fan. But from there, if you hit the back catalogue out of sequence like I did, it becomes quite a crazy journey. Jumping from Live 75-85 to Greetings and WIESS was a real 'what the fuck is this' experience that opened up a whole other world of Bruce Springsteen music. Then, suddenly, a new album called TOL drops which, again, requires a reset as a listener.
My theory is that maybe that sort of induction to the Bruce catalogue makes me more open (or maybe less critical or put off) by journies into realms somewhat removed from what the 'classic' 78 to 81 period represents.
Best latter-days Born In The U.S.A. I've heard in a while, singing the chorus straight without the vocal upturn he's been doing for some years now on the word "born."
I've only purchased the second show so far. Mrs Bosstralian says 'what, ANOTHER show? How many do you need?' or some variant thereof almost every month... I didn't want to explain it cost more this month because there are two shows. Anyway, usually takes me a week or so of intermittent listening just to get through one show so I'll sneak the other one in a few weeks from now.
Liking all I've heard so far. I thought I'd bought the wrong one when the tribal drumbeat that usually heralds WTCOOO started after the intro music... until the intriguing feint from that into Ties That Bind instead. 8 or however many years into this series and it's still throwing out performance curveballs like the start of night 2 that makes it all worthwhile. ("Yes, dear, I do need another show").
http://www.backstreets.com/news.html
Excellent.