Land of Hope and Dreams Tour Delivers Criticism and Uplift
In Bruce Springsteen's autobiography “Born to Run,” The Boss wrote about doing a “magic trick” that connects him to his audience and builds community around him. After last night's show I believe part of that trick is a delicate balancing act.
Since the 70s, Bruce has spoken his conscience in his songs, his participation in benefit efforts and his commentary from the stage. At the same time, he naturally attracts Americans of all political stripes to the E Street party. The infectious energy has brought conservative stalwart Chris Christie, former NJ governor out to multiple shows. The stories found in Bruce's lyrics of working class people showing up every day, hoping for a better life and not always seeing it come together, resonate across the spectrum.
Last night Bruce rose to the challenge of our present situation - to use his hard-earned platform and his American Constitutional right to call out what he sees in our government that merits criticism. At the same time he needed to deliver that sense of community, of welcoming, and of fun that he's famous for. Bruce skillfully checked both those boxes repeatedly over the course of a 2-½ hours+ performance.
In part, he accomplished the balance by punching up, not down. With carefully measured, prepared words, he focused his disapproval on the government and its behavior. He laid out for the audience deliberate choices made that have cost children of the world their lives and American people their livelihoods.
And for those scripted moments, there were songs that matched the mood and message. Kicking off the show with a prayer for the safety of our troops and an impassioned cover of Edwin Starr's “War,” framed the next song “Born in the U.S.A.” as both a calling out how war veterans can slip through the cracks of our system and, in the chorus, an anthem of American pride. “My City of Ruins” has stood in for communal pain on multiple occasions. Bruce wrote the song about the decay of his beloved seaside town Asbury Park, NJ at the turn of the millennium. The song suddenly took on new meaning with the devastation of the World Trade Center, the Pentagon and United Flight 93 on September 11, 2001. Now, Bruce places it in the context of the rapid and persistent erosion of American values in our government. A message also supported in his 2007 song, “Long Walk Home.” Bruce's latest ballad “Streets of Minneapolis” served as the catalyst for this North American leg of this tour. This song, capturing harrowing moments in our all-too-recent history, reveals how Bruce is a true student of Woody Guthrie and Pete Seeger. The concert production team acknowledged as much by playing Guthrie's “This Land is Your Land” through the PA system as the audience exited the arena.
But, with the exception of “Nebraska,” Bruce has always been conscious to balance pain with party. And Bruce and band brought the power of rock-n-roll to bear on hits like “Hungry Heart,” “Dancing in the Dark,” and “Born to Run.” Concert staples like “Because the Night” and “Two Hearts" showed off the band's one-of-a-kind chemistry, which translated to the audience's chemistry in the arena.
Standout moments among the band included the evening's title song “Land of Hope and Dreams,” which fully showcased the glorious harmonies of the E Street Choir and the transcendent energy of the E Street Horns. Guest guitarist Tom Morello delivered on his chance to shine on “The Ghost of Tom Joad,” where he shared lead vocal honors with Bruce. Longtime lead guitarist Nils Lofgren whirled and twirled through an incendiary solo on “Because the Night.” And musical director Stevie Van Zandt brought his trademark expressive playing and signature vibrato to “Murder Incorporated.”
Bruce's stage banter helped orient this New Jersey native to a new locale for an E Street show. As he launched into “Wrecking Ball,” he jokingly opined that New Jersey and Long Island are pretty much the same thing, separated at birth, that if you shake up New Jersey, it comes out as Long Island. Further, he connected both regions as part of “the bridge and tunnel club.” Prior to this show, all 8 shows I've seen, starting in 1999 were all in the Meadowlands complex in East Rutherford, NJ. I attended college at Long Island's Stony Brook University and I see his point about the suburban way of life in the shadow of the big city. At the same time, I recognize and enjoy some cultural differences between the two places.
Given that we were seated in the section alongside stage right with a side-to-rear view of the onstage action, I got a great kick out of the band members situated closest to us, who frequently worked their side of the stage. Organist Charlie Giordano checked in with us with a big smile and wave at points when his parts simplified to one-handed accompaniments.
Saxophonist Jake Clemons and violinist/guitarist Soozie Tyrell showered our side of the stage lots of attention as well, leading us in the melodic crowd chant in “Badlands.”
Speaking of Jake, it's been genuinely nice to see how his onstage relationship with Bruce has blossomed over the years. In the early years of their collaboration, the relationship was respectful and cautious to communicate loud and clear that Jake wasn't a plug-in replacement of his uncle, the legendary Big Man Clarence Clemons. Bruce and Clarence were very much brothers. Over the past few tours (my family and I catch one show on most tours), we've watched Bruce and Clarence develop a perfectly fitting uncle-nephew like relationship.
The rhythm section was as precise as always. Moreover, they were more energetic than I remembered at the last couple of stadium shows, as evidenced in tempos that felt slightly more natural, a little less governed by a metronome. Watching Max on drums from the side view really highlighted for me his expertise and dedication to craft.
Bassist Garry Tallent got on my radar a few years ago when I read a story about his simple, unassuming act of cultural courage as a teenager. Garry had quietly become the first white musician to cross Asbury Park's railroad tracks to jam with the soul bands, ultimately joining Little Melvin and the Invaders, which set him on a long path to eventually co-founding the very same E Street band I saw last night. His basslines came across clearly, rhythmically and countermelodically, rooted in the tradition of great soul bassists like James Jamerson and Carol Kaye.
I was so inspired by Garry's early choice to cross the tracks that I wrote a song about him, titled “Come Across the Tracks.”
When Bruce focused on his discontent with the state of our union, he drew cheers and boos, which I believe was a mix of support for Bruce speaking up and disapproval of current government leadership. So, I came up with a response that clarified it: “SHAME!” which caught on in my section. Also, in my section was a woman who shouted “Just sing your song!” This made me wonder if she came to this well-publicized concert knowing that there'd be prominently featured political elements animating this whole tour.
I was particularly moved by one of Bruce's pre-song speeches when he spoke of wanting to come out and hear us, be together with us through these turbulent times in American life. Contrary to a professional critic who opined on this tour, I believe Bruce went beyond preaching to the choir. I think it was a genuine effort to persuade the persuadable as well. I don't think he was out there trying to convert dedicated MAGA supporters, but he wasn't out to attack them either. Rather than push for progressive priorities, I believe he struck that balance of speaking to long agreed-upon American values like freedom of speech and the rule of law. I think he modeled a conversation I might be able to have with an independent, someone who doesn't follow politics, or a moderate Republican who does not accept this administration's behavior.
Considering the political discourse, the song selection and the structuring of the show, I felt like I got everything I hoped for and more out of Bruce Springsteen and the E Street Band's Land of Hope and Dreams North American tour.