The old Boss, with flash of something new
Friday, July 29, 2005
By Scott Mervis, Pittsburgh Post-Gazette
In "One Step Up," Bruce Springsteen, or the character in the song, refers to being "the same ol' story, same old act."
And in a sense, that's been true of the Boss. Although the quality has remained high and his themes have evolved with age, Springsteen has been a constant for his fans, for better or worse. No gospel records a la Dylan, no country/techno/rockabilly midlife crises like Neil Young and no running off with chamber orchestras like Elvis Costello.
He's either given us the E Street Band -- which on the last stadium tour seemed a bit over the top -- or a stripped-down acoustic thing.
But last night at the Petersen Center, we saw a flash of something new and exhilarating coming out of Springsteen. After politely asking for quiet, he sat down at the pump organ, and with the light all shadowy, delivered a dirge-like "My Beautiful Reward" sung as though he was never going to get it.
That was child's play compared to the next song. "Reason to Believe" consisted of an ominous synthesizer drone, a screaming, distorted harp and Springsteen stomping his foot into the floor, turning the song upside-down with a vocal that sounded like it came from the pits of hell.
This wasn't "Thunder Road." This wasn't even "Nebraska." It was performance art -- dark, hopeless music for fearful times. As punk as anything you'll see.
The desperate mood persisted through "Devils + Dust," a stark scene told from the viewpoint of a soldier (but just as easily a suicide bomber) and "Youngstown," a blue-collar horror story delivered just for us with blistering guitar work.
Finally, with the fifth song, "Long Time Comin'," and then "For You" and "The River," Springsteen broke the spell and turned to the personal politics of relationships, also addressing the crowd, in one of many great anecdotes, to reveal how his old man told him as a kid that love songs "were government propaganda to make you get married, have kids and get your nose to the grindstone."
"Part Man, Part Monkey," about the evolution debate, came with a comment about recently being in Europe and trying to "explain to them that the monkey doesn't vote."
Springsteen moved around the beautifully lit stage, getting a variety of colors and textures out of his guitars, and displaying the kind of lyrical piano skills we expect from Professor Bittan, particularly on a stunning "Racing in the Street."
Song after song dealt with themes of regret ("One Step Up)," longing ("All I Thinkin' About"), death ("The Rising"), sacrifice ("Jesus Was an Only Son") and redemption ("Darkness on the Edge of Town)." Before doing "All that Heaven Will Allow," he couldn't help but laugh and say, "Let's sing something happy. Hell, I got some of those suckers." A few more would fit the bill -- "Waiting for a Sunny Day," "Growin' Up" and, in a way, the rousing "Homestead" with hometown hero Joe Grushecky.
The evening wasn't without its flaws. He leaned on the ghostly falsetto vocal a few too many times, he skipped tour gem "Wild Billy's Circus Story" and the last half-hour could have used the focus of the first half-hour. But by liberating himself from the E Street Band and adding a dark, nasty edge to his solo set, Springsteen never seemed more in command of his art.
(Scott Mervis can be reached at smervis@post-gazette.com or 412-263-2576.)
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