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Given that the film captures a live performance of Smith's now-classic debut album during the tour launched to commemorate that record's 40th anniversary, it made sense that the head of the label that signed Smith out of CBGB would be there, along with the upstart producer that helped her achieve what's widely regarded as her commercial breakthrough, and, well, the manager of the guy who let the upstart producer take an unfinished demo cassette across town to a sister Jersey swamp rat.
Ancient history, but you could be easily forgiven if your mind connected those dots. After the minute film, the screen went up and the Patti Smith Group were in place behind it. The set had been advertised as "Patti and her Band will perform the title track of Horses along with some of their signature songs. From the right angle, you could see Iovine sitting in the wings, which made sense given his Executive Producer credit and the involvement of Apple Music as the film's distributor.
Iovine before adding, "And I want to thank this fellow There was a bit of a pregnant pause before none other than Bruce Springsteen strode onstage with an impish grin as the entire Beacon Theater lost their marbles.
The two embraced, and Patti came back to the mic to note, "This song always makes me think of three men: Bruce," Smith sang, cueing him into a compact but satisfying solo. It was delightful to watch Bruce sing the words to himself on Smith's verses, only for her to do the same when he was at the mic. The two exchanged another embrace at the end, and just when we thought Bruce was going to be departing the stage, Kevin Buell made an appearance for a guitar change.
At the end, Smith hugged Stipe and her children and then Bruce, and the two walked offstage companionably holding hands. Six songs, two surprise guests, a theater of buzzing music fans, and a set of beautifully connected dots spanning across 40 years.
Kicking off another week of SpringsteenBroadway Springsteen on Broadway runs Tuesday through Saturday nights, before a late-April break. Springsteen on Broadway runs Tuesday through Saturday nights, including show number on March 28 Setlist: On Wednesday night, a packed house of contest winners largely SiriusXM subscribers was treated to a special performance of Broadway's most unlikely hit since… what was that hip-hop musical about the treasury secretary?
A freak evening squall made for a theatrical backdrop, snow swirling sideways down 48th Street, looking like the work of a film crew. Early arrivals took shelter in the alley beside the theater, where E Street Radio's Jim Rotolo and Dave Marsh were hosting a pre-show broadcast, interviewing fans and some only-in-New-York celebrities.
Having caught an early performance last November, I was curious how Broadway had evolved, 94 shows in. The songs, of course, remain the same, with the setlist a constant since opening night — save for a few occasions when Patti Scialfa took ill and alternate songs were swapped in for the two duets.
If you were watching the clock, which nobody was, tonight's performance was actually two minutes shorter 2 hrs 13 mins than the one I saw last fall. He's streamlined a few sections, expanded and embellished others — and while the pacing of the second half still feels hasty, overall the transitions are smoother, the impressions more developed, the dramatic pauses more dramatically paused.
Springsteen has found his comfort zone without getting too comfortable, or foregoing that man-on-a-wire balancing act between scripted and spontaneous. Like a river that knows exactly where it's flowing, he moves through Broadway with confidence and purpose, all while nodding at something deeper roiling below the surface. Before the audience even notices, the stream will suddenly change course, shifting from joy to melancholy, present to past, light to darkness in an instant.
In November it was the darker themes that stood out: The sadness is still there — enough, apparently, to reduce Reese Witherspoon to a sobbing puddle of tears — but on second viewing you realize how laugh-out-loud hilarious the show is, right alongside the melancholy, often in the very next breath.
Take it from Gervais: What's really annoying is how funny he is too. That's not a side of Springsteen that's been front-and-center in his music, at least not since the Ford Administration. Springsteen the Icon was always dead-serious. But Bruce the Performer was often downright hysterical, blessed with a comic actor's timing and a stand-up's surfeit of material. Think of the legendary raps of the '70s and '80s — shaggy-dog stories and goofy cosmic tales that came off ad-libbed but were in fact carefully honed.
It takes work to sound that off-the-cuff. Goddamn it, I was still just a normal guy! To those lucky enough to hear them, those live raps were an essential part of Springsteen's charming regular-dudeness, a giggly, self-effacing side few casual listeners would've been aware of.
It didn't exactly carry through to the records, or to Bruce's mythic public persona. So it's refreshing to find him rediscovering his comic gifts of late, first with the Born to Run memoir, equal parts eloquent and uproarious, and now with Springsteen on Broadway, which aims even more squarely for laughs, but never unearned ones.
Having spent years trafficking in hardcore drama, who'd have guessed that Bruce would someday look back and it would all seem funny? The '70s Sweathog staccato has now dropped to a gravelly murmur, which makes for even stronger comedy. Tonight's finessed jokes landed better than they did in the fall. The great line about having "never worked five days a week until these shows" found an even bigger laugh with the gruff addendum "And I don't like it.
Because I live in the fucking boondocks. There's no one here. And there's nobody coming down here. His physical delivery, too, has been calibrated for the small stage.
He recounted his "first show," performing in the backyard for a group of local kids, fake-strumming a newly acquired, still-mystifying guitar. Most importantly, I posed with it! Memo to Ben Stiller and Jimmy Fallon: Bruce's Bruce is funnier than yours. With its heart-on-the-sleeve, just-shy-of-sappy sentimentality, "The Wish" feels built for this setting and guaranteed to make anyone born to a mother well up.
By the second verse I was a Reese Witherspoon-size puddle on the carpet. One other change since last fall: Springsteen's acknowledgement of his mother's seven-year struggle with Alzheimer's, which he hadn't addressed directly in earlier shows. The word hit the audience like a gut punch, shading his otherwise bright recollections of Adele's joie de vivre.
And the sweet chorus of "The Wish" — with the line "I'm older, but you'll know me in a glance" — became all the more poignant. The duets with Patti Scialfa have been a highlight of the Broadway run, benefitting from pin-drop acoustics and superb sound design.
Listening to their voices intertwine, I was catapulted back to , 30 years ago this winter, watching Bruce and Patti share a mic and a surprising amount of personal space on "Brilliant Disguise. But that's the miracle of any Springsteen performance, in any setting: For the lifelong fan, Springsteen on Broadway packs in more history than Hamilton. Some commenters have expressed surprise at how "non-partisan" the show is, given Bruce's political outspokenness, but I'm not sure that's accurate.
The introduction to "Long Walk Home" may not spell it out, but naming names isn't necessary; the message is lost on no one. Tonight's intro was longer and decidedly angrier than it was last fall:.
I've seen things over the past year on American streets that I thought were resigned to other, uglier times — things I never thought I'd ever see again in my lifetime. Folks trying to normalize hate…. We've come too far and worked too hard, and too many people have paid too high a price for us to allow that to happen…. We're going through a terrible chapter in the battle for the soul of our nation.
Did Bruce know that Gary Cohn, Trump's recently departed economic advisor, was in the audience? No word on whether Cohn enjoyed the show.
Other moments took on unexpected nuances. The show's dreamlike final section finds Bruce outside his boyhood church in Freehold, where "the words of a very strange but all too familiar benediction" suddenly come rushing back.
But these were the words that came back to me. And they flowed differently. He's referring, of course, to the Lord's Prayer, which he recites before the show-closing "Born to Run. For 45 years Bruce Springsteen has not only avoided phoning in the hits, but has appeared physically incapable of doing so. For all sorts of reasons some laid bare in this show , the man can't do anything halfway. So a fan returning to Broadway, five months into the run, could legitimately wonder if the star might feel hemmed in by repetition, caught in his own scripted trap.
Can a performer known for spontaneity pull off his trickiest magic yet — making a static setpiece appear genuinely alive out there? Would he tire of playing the same gig, night after night after night? Sure, some moments felt rushed, and at others the narrator seemed distracted or impatient. But the setting clearly suits him, and after so many shows he's developed an easier give-and-take with the theater audience, playing off our silences, our laughter, our pent-up urge to leap from our seats and sing along.
So does it matter that the second act basically turns into a concert? Should it bother us if "Dancing in the Dark" doesn't really fit the storyline? Perhaps you were hoping for more about fame, fatherhood, New York City, the '90s, or a few more songs from this century? Hey, we all were. But this is his story, not ours, even if we each have our own too long Bruce Springsteen tale to tell.
That's the singular achievement of Springsteen on Broadway. And though we may never stand outside St. Rose of Lima Church in Freehold, New Jersey, we know exactly how it looks and feels to that eight-year-old kid with his toy soldiers and horses, and to that year-old homesick troubadour, searching the sky for his beloved copper beech tree, and for the boy he left in its branches.
The best a fan could hope for? But Springsteen on Broadway really is that good, and five months in, it's only getting better. Springsteen on Broadway runs Tuesday through Saturday nights.
Returning from a holiday break, Springsteen on Broadway is back to its original setlist, with Patti Scialfa recovered from the flu and back on stage. Performances will continue Tuesday through Saturday nights throughout this month, through February 3, before another break. Patti Scialfa is ill and unable to perform, prompting the first changes in the Springsteen on Broadway set since the official opening. Springsteen talked a bit about fatherhood saying something to the effect of, "I guess I'll say something about the kids instead" after explaining that Patti had been sick over Christmas weekend.
We've got magic to do, just for you We've got miracle plays to play We've got parts to perform, hearts to warm Kings and things to take by storm As we go along our way — "Magic to Do," Pippin. For decades, his concerts have been described as feats nothing short of miraculous, and he has discussed his own songwriting in terms of a magical act:
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