The Boss – Bruce Springsteen

By Joan Tupponce

November 1st, 2009

The sold-out Greensboro Coliseum, packed wall-to-wall with rock fans, began simultaneously chanting the simple war cry calling for their musical hero. “Bruce … Bruce … Bruce …” The echoing chant grew louder as the lights dimmed and the silhouettes of the E Street Band entering the blackened stage excited the audience into a frenzy. Nobody in attendance could really make out their faces or tell if the hours waiting for the icon of American heartland rock had come to an end and he had joined his longtime musical companions on stage.

Then, with the strum of Steve Van Zandt’s electric guitar and the simple count of “One, two” heard through the coliseum’s sound system, the stage lights glistened and the audience pumped their fists as Bruce Springsteen and the E Street Band went to work. “The Boss” was in town.

For as long as I can remember, I’ve been a fan of rock music. Classic rock. Not the repeated screaming two-line ballads of hair bands. And not the teeny-bopping monotonous jingles of boy bands. The good old classic rock legends: the Rolling Stones, The Doors, Bob Segar … I’m sure you know where I’m headed. And don’t get me started on rap, hip-hop, R&B, pop and the endless list of new-age musical genres. It is too much of a challenge trying to decipher what rapper Soulja Boy is singing, or why hip-hop artist Jay-Z seems to be talking rather than singing. This all probably makes me sound like an old fuddy-duddy, but all I want is some good old rock ’n’ roll.

Springsteen and the E Street Band is certainly among the top five musical concerts I had always desired to see. Trying to pinpoint when I became a fan of Springsteen is a little tough. Perhaps it was back in the ’70s, when “Born to Run” was released, giving Springsteen his first big hit. But I’m not that old. When Springsteen released his seventh album in 1984, “Born in the U.S.A.,” I know I was on the Springsteen bandwagon, along with millions of blue-collar Americans who adopted many of the album’s hits as their own anthems.

The title track of Springsteen’s groundbreaking “Born in the U.S.A.” shot his reputation and career to new heights in American and international music culture. Who didn’t feel an enormous sense of national pride as Springsteen bellowed the story of the Vietnam veteran trying to make ends meet after returning to his home soil? The denim- and leather-clad Springsteen, with the stars and stripes as a backdrop, sent goose bumps down the spines of millions of fans as he pumped his fist into the air, singing of the heroes lost in Khe Sanh and the pride of being American. “Born in the U.S.A.” was surely an emotional roller coaster for many war veterans.

Springsteen’s “Born in the U.S.A.” album also broke ground with new audiences as many teenage girls dreamed of being the one girl plucked out of the crowd in “Dancing in the Dark.” The music video shows a very young Courteney Cox, well before the actress hit international fame, accepting Springsteen’s invitation to join him on stage for a short jig as the song ran its course. Maybe a stroke of genius by Springsteen or just one of those lucky decisions, but the song would send females into hysterics and took Springsteen’s fan base to new heights.

One of my early favorite Springsteen songs, and a favorite of many, also came from “Born in the U.S.A.” “Glory Days,” released in 1985, takes me back to my own school days of hopeful dreams, broken hearts and lost loves. Listening to the song now, as opposed to 20 years ago, gives me a new perspective on life. Those may have been my glory days, and the song reminds me that one small change in direction could have changed the outcome completely. But those days have passed me by, and I’m surely grateful for and lucky to have what I have now. Just like the song says.

The concert in Greensboro, N.C., was actually a surprise Valentine’s Day gift from my fiancée, who recognized my love of Springsteen. Floor tickets at that. Initially there was concern, as the two of us aren’t exactly in the “mosh pit on the concert floor” age group. Although my partner is a few years younger than I am, we had enjoyed recent Dave Matthews and REM concerts from seats overlooking the stage.

Preparing to brave the throng of crazed young fans, we were set for battle in hopes of fighting our way to a decent position on the floor. We were pleasantly surprised to find ourselves in the middle of the age bracket on the floor, with many concertgoers both much older and younger than we were.

There was also a good number of concertgoers who shared a bloodline with an older generation. It was encouraging to see moms and dads enjoying Springsteen with their sons and daughters. Many of those in attendance would have remembered the release of Springsteen’s first album, “Greetings from Asbury Park, N.J.,” in 1973, while some were still yet to be born. The large generational spread in the audience didn’t seem to bother anybody, as all were able to share space under the same roof to enjoy Springsteen’s timeless classics.

For those expecting the 60-year-old to have slowed down a step or two or to have toned down his performances since the start of his career, it just wasn’t happening. Springsteen wowed millions of viewers earlier this year at Super Bowl XLIII for a nonstop, exhilarating half-time act that could have overshadowed the performance of the NFL champions, the Pittsburgh Steelers. With knee slides across the stage and back bends reminiscent of a young gymnast, Springsteen showed the world he hasn’t slowed down.

Springsteen’s songs and albums have often reflected on significant moments in American or world history. His 2002 release, “The Rising,” with the title track of the same name, paid homage to the New York Fire Department’s heroic efforts on 9/11. “The Rising” was followed in 2005 by “Devils & Dust,” a reflection of a soldier’s tour in Iraq. His songs have touched the backbone of the American heartland and delivered messages to those who are just looking for a little pick-me-up.

Springsteen’s latest “Working on a Dream” tour coincided with the release of his 24th album of the same name. The album, released in January 2009, was timely, as it coincided with the 2008 presidential election. Springsteen has always been open about his political viewpoints and sang the title track, “Working on a Dream,” during a rally for Barack Obama’s presidential campaign. Springsteen had publicly shared his support for the candidate early in 2008, and later underscored his comments with a performance at the now-president’s rally, prior to the Nov. 4 election.

The album, although reported by critics to be a different version of Springsteen’s regular music, still maintains his tradition of writing music relevant to current issues. Springsteen told the BBC in an interview before the album’s release, “All I’m trying to do right now is just make some really, really well-thought-out, well-crafted inspiring records and get music to my audience that is relevant to the times we are living in and the times in their lives.”

The album is, of course, recorded with Springsteen’s longtime musical partners, the E Street Band. Springsteen has toured and recorded with the band off and on since 1972. There seems to be contradictions regarding when the band was recording with Springsteen, band members rather than the band name getting credit and Springsteen’s marriage in 1991 to the band’s backup singer and guitarist Patti Scialfa.

Scialfa joined Springsteen and the E Street Band in 1984, a year before Springsteen married his first wife, Julianne Phillips. After a controversial split followed by a union with Scialfa, negative publicity followed the pair during the early years of being together. Since, Springsteen and Scialfa have had three children and have continued touring together. Since the very public divorce from Phillips, Springsteen now seems to keep his private life just that: private.

The E Street Band never seems to disappoint. Clarence Clemons, aka The Big Man, saxophonist and original band member, continues to thrill audiences with his smooth tunes and enormous smile. Guitarist Steven Van Zandt joined the band in the mid-’70s and can also boast a successful career away from Springsteen and the E Street Band. Since 2002, Van Zandt has hosted the popular radio show “Little Steven’s Underground Garage.” Drummer Max Weinberg still swings a mean stick; in fact, he has even shared the stage with his son Jay on Springsteen’s “Working on a Dream” tour. During the 1990s, when Springsteen went solo and the E Street Band were without their “Boss,” neither party seemed to suffer any significant career damage. To an old rock fan and Springsteen devotee such as myself, Springsteen without the E Street Band is a little like Dean Martin without Jerry Lewis: Great individually but awesome together.

Springsteen was certainly on fire that night in Greensboro (excuse the obvious reference to his 1982 hit, “I’m On Fire”). There was a great combination of Springsteen classics – “Human Touch,” “Thunder Road,” and “Born to Run” – mixed with more recent releases, including “Working on a Dream,” “Radio Nowhere,” and “The Rising.” The set list did not disappoint.

Springsteen fans also continued their sign challenge, with members of the audience trying to stump their hero with obscure cover-song requests. Up to the challenge, Springsteen consulted Van Zandt on the handmade signs, selecting out “Hang on Sloopy” by The McCoys and Willie Dixon’s “The Seventh Son.” Both were performed to perfection.

Springsteen closed out the concert with “Glory Days.” The song was a perfect selection as I sang along with the audience and danced with my betrothed, finally able to cross Springsteen off of my list of must-see concerts.