For weeks, I was excited that this milestone show, Concert 300, would be Bruce. Not only that -- it’d be Bruce at Nats Park, site of Concert 200. It could not compete with 200, the third most intense moment of my life, but that didn’t matter. It was Bruce, in the pit, when any show could be his last. Still great.
--- “Seeds”!!! A Tracks track I’d never heard, and it instantly relieved my stress. I came in with little sleep, after Brody’s rough first baseball game. I was afraid I’d be cold, or the show would feel rote. My involuntary jumps and pumps warmed me up, and that deep cut took care of the rest.
--- I remember being blown away by “Prove It All Night” in 2016, so would there now be nothing now? Of course not! I forgot of “Lonesome”'s existence, so hearing it return reminded me to relax and enjoy the carnival to come!!! Ditto for “GHOSTS,” among the best new ones.
--- Wheeeee: settling into “Darkness on the Edge of Town.” Insecurities were now gone, so I could enjoy the slower-than-usual vocals and every familiar chord. I’m not sure I’ve sang a single lyric yet. I want to avoid the voice loss after the Tom-and-Annie Baltimore show, and I don’t need to sing. It’s more powerful using my body and living through the band.
--- “Promised Land”!!!! The guitar toss and crowd walk was glorious. I didn’t even feel the need to be that close this time. Emotionally, we all were. Awww at this woman apologizing for screaming and accidentally tapping me. You don't need to apologize; I need to thank you! HA at Bruce’s “what is this, an f’ing party,” as he sees a rare beach ball bouncing around the pit. Woo, individualization.
--- “Hungry Heart”: the party continues. Love the sways at the end!!
--- “Reason to Believe”: an apt title!!!! A crackling harmonica sensation. So distinctive, cool, new.
--- Whoa, wildly different version of “Atlantic City.” Don’t love the single-drum intro, but points for creativity. Hate how the extra instruments and volume drown it — strip its soul and turn it into any other song. Oh well.
--- Awww at the pit crew crowing for “Youngstown”!! Maybe because I have less of a connection to it than “Atlantic City,” but the band backing fares much better here. It enhances the singular focus of the song — red rage rising throughout. Plus, the drum rattles into an extended guitar spin!!!! Best version of the song there’s ever been.
--- “A small prayer for our country” --> “Long Walk Home”: awww at the throwback to Magic, the album of my first Springsteen show!
--- “The E Street Shuffle”: I’m sure this is heresy for old school fans, but most of the song was busy and forgettable for me. Love the drum battle at the end though. That rocked.
--- “Nightshift” is a solid new sound. Wooo at the gospel trio (no, quintet) at the end!!! Nice touch to come back for one mini verse at the end.
--- “Racing in the Street” has a patience and ease that I dig. Feels right.
--- “Last Man Standing”!!!!! Time capsule s--- right there. This is followed by “Backstreets” into “Because The Night”!!!!! Best three-song sequence I’ve heard in a long time. I take a panorama of the stadium -- a real Lou Gehrig moment.
--- “She’s The One”: fun.
--- From there, it’s the Usual Emotion Overload — that led to zero notes for the last eight. The familiar songs remain formidable because they’re classics, and little things make them new. This time, it was the crowd walks during “Thunder Road,” the five-second pause before the light blast for “Burn to Run,” the audience taunts during “Twist and Shout,” and the chaos/calm before/during “I’ll See You In My Dreams.” Plus, there were the young kids in the pit, the positive comments with people around me, multiple people rescuing my charger, no one complaining about movement, the top of the upper deck dancing its heart out, Bruce acknowledging several women on shoulders, and one woman karate-chop high-fiving me after a song.
As my mom would say, “these are, guys, these are…”
Grade: A+
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