bad cellphone photo by Anne Haines
I know it is part of their job to make it look like they’re having fun, so that the audience will have fun. But the thing that struck me most, seeing Bruce Springsteen and the E Street Band in Cincinnati the other night, was just how much fun they really do have up on that stage, and how much they all enjoy performing with one another. There’s such a deep, deep camaraderie and sense of joy visible on their faces – you can’t fake it at that level, you just can’t. With so many people on that stage and a generous three-plus hours to play, there were opportunities for musicians to pop over and visit one another – and the “hey! how you doin’? Great to see you!” looks they shared were just priceless to see. You get the sense that they all really, genuinely, honestly LIKE each other – and that’s something you don’t always get with a band.
Seeing that kind of thing is part of why I love being close to the stage, which I was in Cincy. Watching Patti and Soozie dancing and cutting up during “Pay Me My Money Down” was so much fun I forgave the song for going on about twice as long as it needed to and turning into a Huge Production Number complete with festive parasols for Curtis, Cindy, and Michelle and a New Orleans-style horns-and-singers-and-random-audience-member parade around the pit, across the rear stage, and back up to the front again.
In this regard, Tom Morello – whatever you think of his musical contributions to the band (I love what he brings to the table, but I know a lot of people disagree) – fits right in. He looked to be having as much fun as anyone on stage that night. I will admit it was a little surreal watching Mister Rage Against the Machine cheerfully strumming a 12-string acoustic while Bruce hauled the requisite Sunny Day kid up to sing, and the expression on Morello’s face seemed to indicate that he was at least aware of the oddness of the situation – but he even seemed to be finding enjoyment in that. And he certainly got a big kick out of the guy who requested “Growin’ Up” for his birthday, was brought up on stage to sing the last verse, and did a big stage dive into the pit afterwards. Apparently nobody was actually injured, thank goodness; the stunt was at once impressive, awesome, and pretty stupid. Also, the guy got on the local news:
The other thing I noticed from my side-stage vantage point (fifth row, precisely even with Soozie’s mic stand – not a perspective I’d had before) was how much time the band members spend watching and enjoying the audience. During “Born to Run” I saw Charlie Giordano gazing all around at the exuberant crowd with a big grin on his face, exactly the same way I always like to take a moment during that song to look all around the arena. I also noticed how several band members, knowing what was coming, hightailed it to more remote sections of the stage for “Dancing in the Dark” – Nils hid out behind Charlie and Soozie joined the horn section – and sure enough, half the population of Cincinnati ended up on stage by the end of the song. (I’m against this, incidentally; it’s not so bad during the song itself, but at the end everybody tries to get their hug and their selfie and it takes a good five minutes to get everyone ushered off the stage, which endangers the show’s momentum.)
Musical highlights? “Night” came early on in the set and was fast and furious, just the way it should be. The first sign request of the night was “Lost in the Flood” and for those who purchase the official concert recording, um, that might be my very, very, very loud shriek shortly before the song starts when I realize what the sign says. Sorry, people’s eardrums. I’d been chasing that particular song for years and was perhaps a bit excited. It was a tremendous, intense rendition. And then that moment when the thunderous crescendo stops, the stage goes dark, and Roy’s piano rings out into the silence – absolute goosebumps. Bruce held it there for a minute, prolonging that drama, then cued “Because the Night” which was a perfect segue. Brilliant work from Roy and Nils.
Not a lot of setlist surprises after “Flood,” but the pacing of the show was superb and the audience stayed well engaged throughout; it was one of those shows that didn’t really need rarities to be thoroughly enjoyable. The band is absolutely firing on all cylinders, as it has been for a while now – no sign of burnout or boredom whatsoever. “Bobby Jean” was very well-received and I’m sure I wasn’t the only one whose thoughts drifted in Stevie Van Zandt’s direction at that point, as he’s filming season 3 of Lilyhammer and won’t be joining the band on this leg of the tour. He was certainly missed, most noticeably (for me) during “Land of Hope and Dreams,” but even without him the band is just so, so powerful right now. So good.
Well, there was one more setlist surprise. After a lively, sweaty run through “Shout,” the E Street Band took one last bow and left Bruce alone on the stage. He made his food bank PSA, a small pump organ was rolled out onstage, and I knew we were in for a treat. With the lights all the way down and just one lone spotlight on Bruce at the organ, he gave us a beautiful “Dream Baby Dream” that was at once haunting and comforting. As he played, a few cellphones flickered on throughout the stands; very gradually more and more little lights joined the constellation, and it was absolutely magical.
It remains to be seen, of course, whether the crazy covers and rarities that peppered the South Africa, Australia, and New Zealand shows crop up here in the US. Despite “Jump” in Dallas, there was none of that in Cincinnati. But it was a solid, strong show that didn’t really need that kind of pyrotechnics. A great night in Cincinnati, and just the medicine I needed that night.