Can You Feel the Spirit! -- Louisville, November 3, 2012

Can you feel the spirit?  Elianna, you look good!

Last night's show in Louisville, Kentucky, marked Bruce Springsteen's 4th consecutive performance night.  On Wednesday night, he performed in Rochester, New York, a day later than originally planned due to Super Storm Sandy.  On Thursday night, he played his regularly scheduled gig at State College, Pennsylvania.  Then, on Friday evening he participated in the "Come Together" telethon in New York City to benefit the American Red Cross.  When was the last time Bruce played 4 consecutive days in 4 different cities?  Let's just say, it doesn't happen often.  Did Bruce look tired?  Did he look exhausted?  Or was he, in the words on Louisville's favorite son, floating like a butterfly and stinging like a bee?

ok, rhetorical question.

Springsteen came out in fighting spirit.  Though the first 8 songs were identical in order to a show he played just 11 days prior in Virginia, it's no doubt a safe bet that very few in the audience had seen that prior show.  "Shackled and Drawn" as the show opener gave Bruce an opportunity to do 3 things immediately:  1) present the entire band to the audience from the start;  2) show off the choreography before the sweat started to pour (I don't typically spend time in a review lauding Bruce's dance moves, but this really did look sweet); 3) get himself out to the extended stage mic and in to the audience.  This really helped set the mood for the entire evening, with a loud, raucous, and, as Bruce called it, a "lively" crowd with plenty of audience participation.

Bruce's home area on and near the Jersey shore has been devastated by Super Storm Sandy, and he wasted little time reminding the audience of it:  During the portion of "Wrecking Ball" when he had previously referenced the Meadowlands and mosquitoes, the lyrics were, "Now my home is on the Jersey shore," followed by a pause of more than 10 seconds before continuing, "where we're gonna fight that fucking hurricane."  There was no need for further reminders, and few were given:  the night would be a celebration, a celebration of birthdays, of being alive, or spirit.

Not that everyone got this, at first:  As Charlie Giordano gave the opening sequence to "Spirit In the Night," Bruce announced that he came to get the answer to one question, and he asked audience members to guess what his question was.  Once upon a time, that question might have been a simple affirmation ("Do You Love Me?"), and more recently a call to action ("Is Anybody Alive Tonight?").  Various audience members attempted the more recent one, but Bruce was left disappointed that no one -- within his earshot, anyway -- came up with his new tag line:  "Can You Feel the Spirit?"  This not only introduces "Spirit in the Night," but also encapsulates the message of the evening's party, the temporary escape from the wrecking ball.

Aaron wears the hat.

The show was relatively light in terms of rarities:  "Streets of Philadelphia" for just the 2nd time on this tour; "Open All Night" in the "Chicken Shack Boogie" arrangement, for just the 3rd time on this tour; and "Growin' Up" for the 4th time.  But just reading those off the setlist hardly measures the impact of those songs:  "Streets of Philadelphia" fed straight in to a fiery location back-to-back with "Atlantic City" following, which itself launched a volcanic back-to-back of "Because the Night" and "She's the One"; Nils' solo for "Because the Night" had the entire arena in an uproar.

Then there was the sign sequence.  "Growin' Up" was for a birthday boy's 20th.  The sign read, "Growin' Up with story," but the words were not well spaced, and Bruce seemed to say, "with history" before started.  Nonetheless, when the moment for the story came, he one-upped what the sign said, and called the birthday boy up to the stage to help sing the final verse.  The ensuing reaction of the young man -- let's just call it hysterical -- had patrons rolling in the aisles.  Yeah, he was excited.  To the extent that Bruce first exclaimed, "yeah, that's 20 years old!" and then, that he had just gotten enough energy for the next 5 shows.

Hey!!!  My turn!!!   (photograph: Amber Sigman)

But the sign sequence was just starting.  "Open All Night" rocked, as the "Chicken Shack Boogie" arrangement has since it was first introduced during the "Seeger Sessions" tour in 2006.  But, somewhere along the line, it was "fucked up!" Leading to riotous comments about 40 years of fuck-ups.

Then, having spotted the pink-hatted Darlington Cowgirls in the pit, Springsteen launched in to "Darlington County, prancing around the entirety of the pit before inviting the Cowgirls -- previously seen dancing with Stevie at a Nashville concert in 2009 -- on to the stage for another round.

Finally, "Waiting On a Sunny Day" featured not the usual young girl, but 3 boys (presumably brothers), arranged in T-shirts that collectively read "Glory Days Please," forming a small choir.  They didn't get "Glory Days," but I'm thinking they're ok with that.

The audience participation sequence completed, Bruce took out one last sign, for "The River," this time for a 19th birthday.  Although Bruce plays "The River" frequently in Europe and as part of his campaign appearances for Obama, this marked just the 2nd time he's played the song in a full-band setting in the US this year.  It was pitch-perfect, and he got his quiet for the song.  Another song that made a much-welcomed return was "Rocky Ground," to lead off the encores.

Not all of the audience participation went as planned:  During "Dancing in the Dark," 4 ostensibly adult women decided, on their own, to get up and dance on the back pit riser.  Security quickly rounded them up and escorted them out of the arena.

The concert extended just beyond 3 hours, in all.  And, our question was answered:  "Yeah, yeah!"

Say amen, somebody.

We've been traveling over rocky ground:  Michelle Moore delivers Elianna's favorite song.