Bruce is Bigger than Big 12 Tourney

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By Joel Francis

The Kansas City Star

With the Big 12 tourney reigning in Kansas City, Bruce Springsteen and the E Street Band commandeered Omaha’s empty arena for nearly three hours of musical magic on Friday night.

Springsteen opened with “No Surrender” and kept his foot on the gas for the rest of the night. Although the band played three-quarters of last year’s album, “Magic,” they didn’t shy from their late-‘70s glory days. The new material meshed with the old well. In short, it all worked and it all kicked ass.

The ballads were just as affecting as the barnburners. Violinist Soozie Tyrell duetted with Springsteen for a beautiful reading of “Magic” accented by guitarist Nils Lofgren’s flamenco-like fills. Bass player Garry Tallent added a captivating countermelody to “The River,” which was haunted by Springsteen’s falsetto vocals. “Waitin’ On A Sunny Day” found the band armed with acoustic guitars and leading the audience in a campfire sing-along.

After a short sermon updated from his pro-John Kerry, “Vote For Change” tour, Springsteen dedicated “Living in a Future World” to his “Vote For Change” tourmate, local boy Conor Oberst. Oberst himself popped up nearly an hour later during the encore to lend his voice to “Thunder Road,” but was woefully unprepared to keep up with The Boss. Oberst nervously paced in circles around guitarist Little Steven Van Zandt, and flubbed most of his lines. Fortunately, everyone else in the arena had the lyrics down and picked up the slack.

There were several surprises tucked into the 25-song set, but none was bigger than “Jungleland.” Saxophonist Clarence Clemons looked shaky throughout the night – he frequently took breaks in a large easy chair positioned near the back of the stage – but he and pianist Roy Bittan delivered a riveting performance of arguably Springsteen’s greatest song. That was followed by a throwback romp through the “Detroit Medley” led by drummer Max Weinberg. Springsteen said they hadn’t performed this one in a while, and he proved his point by fumbling with some of the lyrics. Earlier in the night, the band reclaimed “Because the Night” from Patti Smith.

Two E-Street mainstays were M.I.A. Springsteen’s wife Patti Scialfa was at home tending to the family, and Danny Federici is receiving treatments for melanoma. His organ bench was ably filled by Seeger Sessions tour alum Charles Giordano.
For a man who named his sixth album after Omaha’s home state, Springsteen and the E Street Band haven’t been frequent visitors. Springsteen said this was their first visit in 30 years, and his only musical nod to “Nebraska” was a boogie version of “Reason to Believe” that sounded like it was arranged by John Lee Hooker and Canned Heat.

The house lights came up for “Thunder Road” and “Dancing in the Dark” before the night ended with “American Land,” a Irish-flavored original that brought St. Patrick’s Day a few days early.

Setlist:
No Surrender/Radio Nowhere/Lonesome Day/Adam Raised A Cain/Gypsy Biker/Magic/Reason to Believe/Because the Night/She’s the One/Living in a Future World/Promised Land/Waitin’ On A Sunny Day/The River/Devil’s Arcade/The Rising/Last To Die/Long Walk Home/Badlands//ENCORE: Girls In Their Summer Clothes/Thunder Road (with Conor Oberst)/Jungleland/Detroit Medley/Born to Run/Dancing in the Dark/American Land

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Keep Reading:

Review: “Big Man” by Clarence Clemons

Bruce Springsteen and Tom Morello – “The Ghost of Tom Joad”

Review: Springsteen’s “Dream” Needs More Work

Springsteen in the Waiting Room: Drop the Needle and Pray

Springsteen Rocks the Hall (part 1)

Springsteen Rocks the Hall (part 2)

More Bruce Springsteen on The Daily Record

Holiday Marketing Can Reveal Bands’ Inner Grinch

 

By Joel Francis

The Kansas City Star’s Back To Rockville blog

Your favorite band’s opinion of its fans will not be found on the concert stage, but under the Christmas tree.

For years the holiday season has been the dumping ground for record labels. Greatest hits albums from nearly forgotten artists (last year: Sugar Ray, this year: Staind) and reissues with bonus tracks are both designed to cash in on the holiday shopper. While most best-ofs are aimed at the casual buyer, and some can be a great starting place for a uninitiated fan daunted by an artist with a tremendous catalog, reissues take straight aim at the dedicated fan.

Few artists are able to find the balance between old and unreleased material and introduce themselves to new fans without appearing to gouge long-time fans. The Dave Matthews Band finds that balance this year with “The Best of What’s Around, Vol. 1.”

This set gets props for being selected by the band’s fan club and coming with a second disc of unreleased live performances that don’t overlap the material on the first disc. Plus it’s available at a one-disc price. That’s a lot better than most greatest hits with the obligatory two new tracks tacked on to the end.

Which is exactly what U2 does on their collection, “18 Singles.” This is the third best-of compilation from the band in the past decade, a figure which matches the number of studio albums they’ve given us in the same span. It is impossible to summarize the band in one disc and here the band doesn’t even try. Eight songs post-date the millennium, leaving 10 tracks to cover the first two decades of the band. Three albums, “Boy,” “October” and “Pop,” are ignored completely. It’s unclear who this is trying to appeal to, but the band’s intentions could be summed up by playing the intro of Pink Floyd’s “Money.”

For all their humanitarian efforts and “everyman” appeal, it is appalling that U2 would stoop to such a low marketing ploy. They manage to make matters worse with a “deluxe edition” of “18 Singles” that includes at 10-song DVD at nearly double the price. This is not a new practice. U2 have been releasing their concerts on DVD in two editions from some time now. The bare-bones disc of the full concert usually runs about $10, while at double the price the “deluxe edition” adds a second disc of content that barely holds up on first viewing. U2 are shamelessly profiting off their hardcore fans — the ones who made the band what it is today — with this tactic.

Unfortunately U2 are not alone. Last spring Bruce Springsteen released the excellent “We Shall Overcome: The Seeger Sessions” album. This fall it is back in the “American Land Edition” with five more songs. Columbia Records, the same label that brings us The Boss, released no fewer than three versions of the Los Lonely Boys debut album in 2004 and 2005. First came the standard issue. Then, when the band started to take off, Columbia pushed an enhanced version with Spanish-language tracks. Finally came a DualDisc version with videos and a surround-sound mix of the album.

When artists and the labels lament over the money lost through downloading, piracy and hard-drive swapping they should remember that it is ploys like this that turn fans away. It’s never profitable in the long run to spit on the fan who bought the album when it was first released and boosted its all-important SoundScan numbers. This is a trick akin to the repairman who keeps finding one more thing to fix, and it is capable of damaging years of devotion and goodwill.

Fortunately some artists are getting this right. Wilco has provided a free EP of exclusive content for fans who bought their last two studio albums. A code in the CD booklet may be keyed in to the band’s Web site to access the downloadable songs and artwork. Those who purchased Wilco frontman Jeff Tweedy’s solo concert DVD this fall can put the disc in their computer to download high-quality audio versions of all the songs in addition to two bonus tracks. Sure, the system isn’t flawless, but it rewards those who buy and acts on good faith.

All bands thank their fans, but what is expected to be put under the tree speaks much louder than concert-concluding platitudes. Like the Grinch, it appears that The Boss and Bono need a visit from Dave and Wilco to have their hearts expanded a few sizes.