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Red Bank,

that's the site of the
old Carlton Theater,

now the Count Basie...

where back in the '70s, I'd play with the
early E Street Band.

I used to walk these streets
on Saturdays in the '60s

when they were filled with teenagers.

And my first band, The Castiles, and I

would spend the mornings in Freehold

getting our hair just right.

How we used to dream
of playing in front of screaming crowds.

Since I was 16,

playing live has been a deep
and lasting part of who I am

and how I justify
my existence here on Earth.

A lot of it comes together
when I count off the band.

Recently, when the world shut down,

no live music, no audiences.

So I made a promise to myself,
to my fans, and to the band

that if we got through this,

I'd throw the biggest party I could.

♪ I hear the sound of your guitar ♪

♪ Comin' from the mystic far ♪

♪ Stone and the gravel in your voice ♪

♪ Come in my dreams and I rejoice ♪

♪ It's just your ghost ♪

♪ Moving through the night ♪

♪ Your spirit filled with light ♪

♪ I need ♪

♪ Need you by my side ♪

♪ Your love and I'm alive ♪

♪ I can feel the blood
shiver in my bones ♪

♪ I'm alive ♪

♪ And I'm out here on my own ♪

♪ I'm alive ♪

♪ And I'm comin' home ♪

♪ Your old Fender Twin
from Johnny's Music downtown ♪

♪ Still set on 10
to burn this house down ♪

♪ Count the band in
then kick into overdrive ♪

Listen!

♪ By the end of the set
we leave no one alive ♪

This would be our
first tour in six years.

Now that's a lot longer break
than I planned.

So we got together on a quiet,

cold January morning in Red Bank

to begin our rehearsals.

There are two things I try
to accomplish in rehearsal.

One, you've got to shake
the cobwebs off the band,

off of all those years of inactivity.

And two, you've got to find

your set list.

Now that set list is going

to communicate the story

you are trying to tell
your audience this time around.

And the 25 songs I chose to focus on

would complete the narrative
for what I wanted to say,

and it would let
the audience know who I am

at this point in my work life.

Notes?

Notes, notes.

Getting ready to write it down.

No Surrender.

Ghosts.

Letter To You.

Promised Land.

Last Man Standing.

Backstreets.

She's The One.

Badlands.

Glory Days.

Tenth Avenue Freeze-Out.

I'll See You In My Dreams.

And that's the end of that set.

This is 28 songs and
I think on the last tour...

That's easily three.

Last tour, what... I think
that's about how many we did.

- That's three hours.
- Yeah.

After six years,
I thought it might,

uh, scale it back a little bit.

Well done, man!

- We can't do that!
- Yeah, amen to that.

Can't disappoint the fans,
goddammit!

When we rehearsed in Red Bank
at this small Black Box theater,

of course, it was wonderful
on a reunion basis.

We hadn't been in
the same room, all of us,

since the recording of Letter to You.

I think everybody's mindset was,

you know, we're gonna go on tour.

But what was then four years
since the last tour

wound up being six years.

I hadn't seen everybody
together for a very long time.

And I'm always taken back by the deep,

profound sense of
camaraderie that you feel

when you see everybody all together.

You know, it's 50 years

that this group has been together.

And of course we're all in that zone.

We don't know how long things can go on

and what can happen to anybody.

We're lucky that we have the core band.

The only thing we have to fear

is destroying the legacy
we've made so far.

Uh, so, Doug, you get those chords?

♪ I sent it in my letter ♪

E minor.

♪ I sent it in my letter ♪

♪ My letter ♪

♪ To you ♪

A little bit concerned
when we started rehearsals.

Um, you know, it was all

a little bit casual, you know?

The initial rehearsals
is just the core band

getting our sea legs with the songs.

So you got, like, 40-somethin' songs.

Three new albums we've never played live.

Max is saying that we changed
the arrangement for the live?

- Yes.
- Oh.

Yeah, the chart is wrong.

- The chart is wrong.
- No wonder I don't know it!

Six years, seven years
is a really long time

to not really play together.

It became fairly apparent

that we were playing
everything extremely slow.

♪ ...graces and her secret places ♪

We played She's The One
so slow, it was a ballad.

♪ With her hands on her hips ♪

♪ Yeah, and that smile on her lips ♪

People would expect musicians in their 70s

to play that loping thing,
which would be unfortunate.

♪ With her soft French cream ♪

♪ Standing in that doorway like a dream ♪

Tempos were so damn slow,

I couldn't play the damn song.

I can't play... I can't play that fast.

I can't pay... play that slow.

You know, I, I only
play it one way and it's...

That's all I can do.

♪ Heart of stone ♪

He had articulated to me
in a phone call earlier,

he wanted this show
to be a real rock show.

♪ That shine like a midnight sun ♪

And we had the responsibility
to those audience members

who hadn't seen Bruce
and the E Street Band in 1976.

You've gotta transmit that excitement.

We had to recall some
of that manic,

out-of-control-way
we played, 50 years ago.

♪ Hey ♪

♪ Hey ♪

Really get back to where we were.

We only rehearsed,
I think, six days.

We have new horn players,
we have new singers,

and it's a big band
and a lot of moving parts

and I am completely anal

and I care about every note
that everyone does, you know?

That's just my thing.

Yeah, good. Yeah, I know.

Remember in E Street Shuffle,
we did a thing where

Max and, uh, it used to
be Everett, of course

- did the back and forth...
- Oh yeah, on E Street Shuffle.

- So we wanna do that tomorrow.
- Trading eights.

- Yeah, trading the eights.
- I told Anthony...

We had a bigger band, some of the people
I didn't know.

Hold right there.

- We're varying the last lick
- Yeah.

Let's go on. Uh, Max, do the...
tail end there?

One, two, three.

First rehearsal, I was nervous,
you're excited.

There's a whirlwind of emotions.

I made it a point to go over
and introduce myself.

Anthony are a fantastically
talented percussionist.

It was the first time he's played with us.

We started talking about
musicians that we know,

and we spoke for about 30, 40 minutes.

That was all before we played a note.

So by the time we started playing,

it felt very natural.

So I said to Anthony...

Well, one thing you'll never hear
anyone say to Bruce,

"Gee, that's not the way we rehearsed it."

It doesn't matter.

It's what's happening now that matters.

This takes experience.

We heard about this guy Bruce,

and we went down to see who this guy was.

I had to be with Bruce.

Before I met Bruce,

I was very successful in the club circuit.

I realized that you had to,

one, start doing original material

and two, had to have a strong leader.

Bruce came along, you know,
he didn't like me at first

and that was okay, I stayed busy.

Eventually, he came around
and said, "Okay, I need you."

We finally started playing.

And it's been since January of '71.

Long, long time.

♪ And I'll take you all out
to where the gypsy angels go ♪

♪ They're built like light ♪

I grew up in a Baptist church.

My mom and my dad were very,
very religious people,

and they were really
stunned with my decision

to give up my job as a counselor

in a reform school

to go to follow this man,
and play rock and roll.

When Max and I joined,
the band came together

in a very different way.

Prior to us,

it was more eclectic, I think.

Very jazz oriented with
Dave Sancious and Vini Lopez.

Blues, R&B, rock hard, pop,
that was our wheelhouse.

♪ By the time we made it up
to Greasy Lake ♪

I'd only been in
the band about two weeks

and Bruce said, "Bring it down."

♪ I think I really dug her ♪

♪ I was too loose to fake ♪

I-I just got quieter.

And he took me aside later and was like,

"When I say 'bring it down, '
hit that snare drum,

just bop as hard as you can."

♪ And we danced all night
to a soul fairy band ♪

♪ She kissed me just right ♪

He was teaching me his brand of the stuff

that he absorbed from seeing
Sam & Dave and James Brown.

- ♪ In the night ♪
- ♪ All night ♪

- ♪ All night ♪
- ♪ All night ♪

I'd been looking
for a situation like that.

I was so disgusted personally with what,

you know, rock had become
in the early '70s.

Where's all that great
show business stuff?

So Bruce brought that back.

♪ Oh! ♪

Which is why he had me join the band.

He wanted to put the guitar down
and front the band.

Which was a huge step.

I can't even begin to explain
how big a step that is

for a guy I grew up with

that was the most introverted guy

you'd ever met in your life.

For him to go from that to, like,

the world's greatest entertainer...

This is not by accident.

Bruce loves to be surrounded
by a family of musicians

and other talents who he can depend on.

And occasionally, we have
to make a substitution,

a tragic pair of deaths.

Well, the loss
of Danny and Clarence

were terrible blows to the band.

First off, they were both relatively young
and playing great

and, well, they both died
of natural causes.

Danny contracted melanoma,

and Clarence had a stroke.

But for any band that had been together

with the exact same lineup for 40 years,

there's no getting over that shock
or replacing that history.

Now, Clarence and I were
very, very close for 40 years.

We were different parts
of the same spiritual body.

And the loss of that relationship

is simply forever irreplaceable.

Now we've been blessed
with Charlie Giordano on organ,

who channels Danny's style
and mixes it with his own

and of course Jake Clemons,
who took the toughest position

to replace in rock and roll,

and miraculously makes it his

while showing respect
and love for his uncle,

both in his playing and the great presence

of his spirit on stage.

You never get over the guys
you played with for that long.

They're always
an integral part of your life

for the rest of your life.

God bless 'em.

Let's try the beginning
of Dancing in the Dark.

Next one.

These people have such a,
such a strong identity

with the saxophone.

Which the presence of horns changes.

You know, you now become
a rock and soul band, you know,

rather than just a rock band
with a saxophone.

The rehearsals in Red Bank were

a refresher course, if you will,

between myself and Curt Ramm,

do most of the arranging
for the horn section

and try to prepare ourselves
as much as possible

for whatever might come up.

♪ She drives the boys insane ♪

♪ Yes, she does ♪

Nobody
really sat me down and said,

"This is what's gonna happen."

They just put music in front of me.

♪ Whoa, whoa, yeah ♪

They had thousands of pages of music
for the horn section.

Books this thick.

♪ Whoa, whoa, yeah ♪

You know,
we might have arrangements,

we might have things worked out,

and he could change something
at the drop of a hat.

Bruce, he likes the band
to just be a little off balance.

It's part of the finding

how we're gonna play these songs now.

It's-it's really a process of alchemy.

It's oftentimes not adding more things,

it's distilling out the things
that don't need to be there.

It's not like a horn choir revue.

It seems like we're the rock band,
we are at the core,

and they're adding
beautiful touches throughout.

Same with the singing.

Out in the Street, you guys go over
Out in the Street?

- Yep. We've been out there.
- That's good news.

The E Street Band
is very structured,

but inside that structure,
you have to be really flexible

because he's gonna throw things at you.

Their approach is not
quite the same.

Bruce takes the original,

and they just start moving it around.

He's the kind of artist
that doesn't set perimeters.

You don't know exactly what's coming.

You just go along with
what might be in his mind,

and I guess it all gets felt out.

♪ When I'm out in the street ♪

♪ Oh, oh, oh, oh, oh ♪

♪ I talk the way I want to talk ♪

♪ When I'm out in the street ♪

♪ Oh, oh, oh, oh, oh ♪

♪ Pretty girls, they all pass me by ♪

♪ When I'm out in the street ♪

♪ Oh, oh, oh, oh, oh ♪

♪ From the corner we give them the eye ♪

♪ Out in the street ♪

♪ Yeah, I feel alright ♪

♪ Little girl, tonight ♪

♪ Meet me out in the street ♪

♪ Meet me out in the street ♪

♪ Oh, oh ♪

♪ Oh, oh ♪

♪ Oh, oh ♪

♪ Yeah, yeah, yeah, yeah ♪

♪ Oh, oh ♪

♪ Meet me out in the street ♪

Alright, here we go!

♪ Yeah, yeah, yeah, yeah ♪

♪ Oh, oh ♪

♪ Oh, oh ♪

It felt like I was just

stepping onto this train that,

that I say that has no brakes.

'Cause it, once
it gets going out the station,

it's just like we're nonstop.

A one, two, three, four.

♪ Oh, oh ♪

♪ Oh, oh ♪

♪ Oh, oh yeah, yeah, yeah, yeah ♪

♪ Oh, oh ♪

♪ Oh, oh ♪

♪ Oh, oh ♪

♪ Yeah, yeah, yeah, yeah ♪

Each tour rehearsal
starts out in a small theater.

We settle on the songs, we practice 'em,

we get the band in the groove,

but then we move to a local arena

to address the staging and
the pace of the performance,

what will the rhythm of the show be?

The big room also lets you know

that this will all very soon be real.

♪ Well, you better learn to move fast ♪

♪ When you're young
or you're not long around ♪

♪ Cat somehow lost his Kitty
down in the city pound ♪

Now we get to Trenton,
it's more about,

okay, when this tune happens,
the horns are gonna go

to that spot of the stage.

It's how we're moving through the space

of the stage by step.

After that last breakdown...

♪ Ooh, ooh, ooh, ooh, ooh ♪

s ingers gonna come up front.

Kind of a run-through
just so that the first time

we all play together in an arena,

it's not in front of those people.

The energy really shifts

because now you have to be on point.

"That's the time when you go, " Okay,

"I better get my act together."

Rehearsals, frankly,
were a little on the short side.

Two hours and so forth.

"And I realized, " Eh... he's,

"he's actually not that
into rehearsing," you know?

We can do that again.

Alright, I'm gonna go home, Jon.

You're going? That's all
you're gonna do? Um...

There's no sense tiring
everybody out. We got it.

Now, the band needed rehearsal,

so Stevie really started
to take an active hand

and the band started
doing something they...

I don't know that they've ever done,

which is rehearse without Bruce.

In the '70s, Bruce, the band,
and myself were obsessive.

Soundcheck is when you're just checking
the PA system,

maybe you're using
a half an hour to rehearse,

no big deal.

He would have the band play continuously

as if it was a loop.

And he and the late Bruce Jackson,
they'd walk every row.

Totally obsessive and you know,

I, I understand that,
uh, you know, he cares, and that's good,

but...

playing for four hours,
the same eight bars,

it's insane.

Now, today he tells
the band to keep playing

the way they did in the old days

and he goes out to the soundboard

and he listens for all
of two and a half minutes.

And he said to everybody,
"That's fantastic.

Don't change a thing."

Bruce has tremendous confidence.

He knows that these guys, they care.

Stop, stop.
No, no, no. Right there...

I'm like, man, what I don't want to happen

is the critics or the audience
to look at us and say,

"Well, yeah, it's, it's nice, you know,

but these old men are just
going through the motions."

No, no, no, no, no, no, no.
That's the riff, right?

That's the...

After seven years away, you know,

who knows what they're gonna get, right?

Right there, right there,
right there, right there, uh.

But I wanted to come out
and blow their fucking minds.

"I said to him, " Listen, man,
le-let me, let me go in

and just, you know,
tighten up some things."

So he's like, "Okay, yeah,

I'll make you officially the,
the music director."

You know, which is,
you know, nice, you know.

Whatever, you know,

40 years late, but fine.

I think Bruce said to me,

"Well, we don't want to get too good.

It'll work its way out."

We could rehearse tomorrow.

We don't have to. I don't think so.

He knows exactly what he needs to do

and the time in which he had to do it

before we opened in Tampa.

Because there's
a certain percentage

that we're gonna fuck up on anyway.

So...

That's what the people
are paying for.

That's what they're paying for.

They wanna see it live!

That means a few mistakes.

Later on, I realized what was happening.

He got what he needed to
out of rehearsals,

the structure of the set,
warming up his voice

getting it into shape.

And as to pulling
the arrangements together,

"I think he's " Well, I got
the greatest band in the world,

they'll figure it out."

It was a little dreamlike.

You know, is-is this really happening?

And I looked around, and it was.

This was something that
we've all been praying for,

for it to happen.

What you've been hoping for
and wishing for

is being manifested before your eyes.

You walk out.

It's quite a beautiful thing

to see these faces with
so much joyful expectation.

When we stepped up
on that stage in Tampa,

you start to witness how intense,

how very personal this show is

for the audience, for us.

You know, these are,
these are lasting memories.

The man who was
coming up the stairs in Tampa,

he knows exactly who he is.

He knows exactly what he's done.

And he is the maestro.

♪ Well, we busted out of class ♪

♪ Had to get away from those fools ♪

♪ We learned more
from a three-minute record ♪

♪ Than we ever
learned in school ♪

♪ Tonight I hear the neighborhood
drummer sound ♪

♪ I can feel my heart begin to pound ♪

♪ You say you're tired
and you just want to close your eyes ♪

♪ And follow your dreams down ♪

♪ Well, we made a promise ♪

♪ We swore we'd always remember ♪

♪ No retreat, baby, no surrender ♪

♪ Like soldiers on a winter's night
with a vow to defend ♪

♪ No retreat, baby, no surrender ♪

♪ Now young faces grow sad and old ♪

♪ And hearts of fire, they grow cold ♪

♪ We swore blood brothers
against the wind ♪

♪ I'm ready to grow young again ♪

♪ And hear your sister's voice
calling us home ♪

♪ Across the open yards ♪

♪ Well, maybe we could cut
someplace of our own ♪

♪ With these drums and these guitars ♪

♪ 'Cause we made a promise ♪

♪ We swore we'd always remember ♪

♪ No retreat, baby, no surrender ♪

♪ Blood brothers on a stormy night
with a vow to defend ♪

♪ No retreat, baby, no surrender ♪

Come on, Steve.

♪ Li, li, li, li, li, li,
li, li, li, li, li, li ♪

♪ Li, li, li, li, li, li,
li, li, li, li, li, li ♪

♪ Li, li, li, li, li, li,
li, li, li, li, li, li ♪

♪ Li, li, li, li, li, li,
li, li, li, li, li, li ♪

From the first second,
this tour exploded.

All night long!

The audience response
was as good or better

as we've ever had.

I couldn't believe the intensity level.

Twin Cities!

Milwaukee!

Boston!

I look in the audience,

I see, I see these people are just

so grateful for having this music again.

Looking out
in the audience is special.

I catch somebody's eye,
and I catch a tear.

I call it a very spiritual show.

This is the church.

The faces in the audience,
the entire breadth of people out there.

It's really kind of lifting it
into a different realm.

♪ What it means to steal,
to cheat, to lie ♪

♪ What it's like to live and die ♪

♪ Prove it all night ♪

♪ Prove it all night ♪

♪ There's nothing else that we can do ♪

♪ Prove it all night ♪

♪ Prove it all night ♪

♪ I'll prove it all night for you ♪

♪ I'll prove it all night ♪

♪ I'll prove it all night ♪

♪ I'll prove it all night ♪

♪ Prove it all night ♪

♪ Prove it all night ♪

♪ Yeah, yeah, yeah ♪

♪ Prove it all ♪

Come on, Steve!

- ♪ I said yeah ♪
- ♪ Yeah ♪

- ♪ Yeah ♪
- ♪ Yeah ♪

- ♪ Yeah ♪
- ♪ Yeah ♪

- ♪ Yeah ♪
- ♪ Yeah ♪

- ♪ Yeah ♪
- ♪ Yeah ♪

- ♪ Yeah ♪
- ♪ Yeah ♪

- ♪ Yeah ♪
- ♪ Yeah ♪

- ♪ Yeah ♪
- ♪ Yeah ♪

- ♪ Yeah ♪
- ♪ Yeah ♪

- ♪ Yeah ♪
- ♪ Yeah ♪

- ♪ Yeah ♪
- ♪ Yeah ♪

- ♪ Yeah ♪
- ♪ Yeah ♪

- ♪ Yeah ♪
- ♪ Yeah ♪

- ♪ Yeah ♪
- ♪ All night ♪

Something changes in a song

when you play it
in front of a live audience.

You can't understand
your song's possibilities

or the stakes that it can play for

until you count it off
in front of your audience.

Now of course,
our songs from Letter to You,

they were untested.

I know one thing, they were essential

to the story I wanted
to tell this time around.

He came in with this
unbelievable song list,

which I don't think we changed it from
the first moment it came in.

What did we just do? Surrender.

- Ghost.
- Right.

Prove it. The Letter.

He just had it exactly right
right from the very beginning.

- Alright.
- Let's start with that.

Pick two songs.

It started to emerge that

this is all sort of connected.

It's not just 20 or 30 songs
thrown together,

it's a building thing.

And it's just gotten
more defined, more refined,

more direct.

And I think mention has been made of his
experience on Broadway.

Come down and copy
the set list right here.

Where you play essentially
the same thing every night.

I think that informed what
he wanted to do this time.

These songs are interlocked
by a certain defiance

and a certain urgency.

There are four songs
from the Letter to You album

that provide a certain continuity.

And those songs have occupied the same

space in the set list at every show.

♪ 'Neath a crowd of mongrel trees ♪

♪ I pulled that bothersome thread ♪

They all are connected
to feeling the pressure of time

and approaching death.

♪ I tried to summon all that my heart ♪

♪ Finds true ♪

♪ And send it in ♪

The subtext is about
living your life right now.

♪ In my letter to you ♪

♪ I took all my fears and doubts ♪

♪ In my letter to you ♪

♪ All the hard things I found out ♪

♪ In my letter to you ♪

♪ All that I found true ♪

♪ And I sent it in my letter to you ♪

Yeah!

♪ Come on ♪

Now listen.

♪ I took all the sunshine and rain ♪

♪ All my happiness and all my pain ♪

♪ The dark evening stars
and the morning sky ♪

♪ Of blue ♪

♪ And I sent it in my letter to you ♪

♪ And I sent it in my letter to you ♪

Come on!

♪ In my letter to you ♪

♪ I took all my fears and doubts ♪

♪ In my letter to you ♪

♪ All the hard things I found out ♪

♪ In my letter to you ♪

♪ All that I found true ♪

♪ And I sent it in my letter to you ♪

♪ I sent it in my letter to you ♪

See, that was quite good.

It's the mighty E Street Band, baby.

What's the surprise?

The start of every show
we wait for him backstage.

We get called out of our rooms,

and, uh, we walk onto the backstage area

out of sight from the audience.

He comes in, we all grab hands.

It's not a prayer per se,

it's whatever comes
off the top of his head.

Sometimes he'll have a joke,

sometimes it'll be a little solemn,

but for that moment, we're bonding.

One time he said,
"This is the place I warmed up

"for the band Chicago
and got booed off the stage.

"It will not happen tonight.

Somebody say amen."

Amen.

Woo!

Oh, he was in, like,
local bands in Asbury Park

playing clubs playing Top 40.

I saw him play at a place
called the Upstage Club.

It was a coffee house that was open

till four o'clock in the morning.

And we... this is a place
that we'd go to, to like,

really get our rocks off.

Touring in the early days,
it was not touring,

it was gigging.

We're going out to Westchester,
Pennsylvania today

to open for Cheech & Chong.

♪ Sha, na, na, na, na, na, ooh ♪

After 30 minutes, some guy

stole my leather jacket
from the dressing room.

♪ Thundercrack ♪

It was dangerous not to
take your wallet on stage

because if you went back
to the "dressing room,"

your wallet wouldn't be there.

♪ To her lightning shack ♪

We did whatever we could do,

random gigs, clubs,
wherever we could set up shop.

♪ She moves back ♪

♪ Out on the floor there
ain't no one cleaner ♪

We played so many
"shot and a beer" bars.

We played a show at a club
inside the Bayway Refinery

where the flames come out.

♪ Straight from the Bronx ♪

We played a free gig
at Damrosch Park,

and there might have been 10 people there.

♪ She bumps, she grinds ♪

We were new and
the promoters just come out,

and they, they wanna push you around
and then, "Yeah, yeah..."

You're on the stage for 45 minutes,
they're pulling the plug.

Pull the plug?
No, you're not gonna do that.

♪ Out on the floor there
is no one cleaner ♪

I think we were delirious
for those early tours.

♪ She calls the "Jump Back Jack" ♪

The rides were many, many hours.

We'd pull into a college
and go do four-hour show

and then another nine-hour drive.

You realize that you've spent
most of your adult life

with these characters.

There's no question how meaningful it
is to all of us.

It's a real big core
of familiarity and family.

For me, being like the, the new guy
in the band at 39 years,

getting together to create great music,

it's one of the rare joys.

At this particular moment
in time in our lives,

to be doing this, it's quite a blessing.

I've been performing
with this band for 40 years.

With those first performances,

it felt so good to be back on stage.

Touring has become a challenge for me.

In 2018, while Bruce and I
were doing a play on Broadway,

I was diagnosed with
early stage multiple myeloma.

And this affects my immune system.

So, I just have to be careful
what I choose to do

and where I choose to go.

Every once in a while,
I come to a show or two,

and I can sing a few songs on stage

and that's been a treat.

That's the new normal for me right now.

And I'm okay with that.

♪ Romeo and Juliet ♪

♪ Samson and Delilah ♪

Fire is always fun to sing.

♪ You can bet ♪

♪ Their love they couldn't deny ♪

♪ Your words say split ♪

It's very personal in a way.

You can see a side of our relationship

that you usually don't get to see.

♪ ...kiss ♪

♪ Ooh, ooh ♪

♪ Fire ♪

Being back on stage with Bruce is a blast.

Now I remember those summer nights

down by the Jersey shore.

As the band played, with you in my arms,

we'd move across that floor.

Oh, but then, darling, you went away.

Well, all I've got to say is,

tonight, I don't care if you lied.

Let's dance!

♪ Oh, darling, you lied ♪

♪ Darling, I loved you ♪

♪ You know that you lied ♪

♪ Darling, I loved you ♪

♪ You know that you lied ♪

♪ Darling, I loved you ♪

Every night
of this tour gives the band

a chance to celebrate.

♪ Papa says he knows that
I don't have any money ♪

♪ Oh, your papa says he knows
that I don't have any money ♪

Tell him this is his last chance

to get his daughter in a fine romance.

The record company, Rosie,

gave me a big, big, big, big,
big, big, big advance.

♪ And my tires were slashed
and I almost crashed ♪

♪ But the Lord had mercy ♪

♪ My machine, she's a dud,
I'm stuck in the mud ♪

- ♪ Somewhere in the swamps of ♪
- ♪ Jersey ♪

US Tour, there were 31 arena shows.

They were wild.
Those shows were incredible.

Come on!

He's having an experience every night.

♪ Let it rain ♪

He is living it.

♪ Let it rain, let it rain ♪

♪ Let it rain, let it rain ♪

♪ Let it rain, let it rain ♪

♪ Let it rain, let it rain ♪

♪ Let it rain, let it rain ♪

♪ Let it rain, let it rain ♪

♪ Let it rain, let it rain ♪

♪ Let it rain, let it rain ♪

♪ Let it rain, let it rain ♪

♪ Meet me at ♪

♪ Mary's ♪

♪ Place ♪

I would catch Bruce in the gym
the morning after our show day.

And I was like, "Okay",

this is pretty impressive."

You know, this guy gives out

three hours of concert,

next morning he's in the gym.

And I walk in and he goes, "Well",

that's-that's how I like to see my guys,

"in the gym ready to go."

And then he'll look at me and go,

"You haven't seen anything yet.
Wait till we get to Barcelona."

I was like, "Okay."

Said that the first time.

And then he repeated that for a month.

Every time he'd see me,
"Barcelona, Anthony."

♪ Oh, oh, oh ♪

In Barcelona, Catalans take
their music very seriously.

We've had an audience here that's nonstop.

Very loving, warm, exciting,

everything you could ask for in a crowd.

♪ Oh, oh, oh ♪

It's been that way for a long time

and it still is.

♪ Oh, oh, oh ♪

♪ Oh, oh, oh ♪

It's a very warm audience.

It is an audience that accepts you
on your terms.

I had never seen
an audience like that ever.

There's more singing along,

the chants and those things.

Every single soul is engaged,
alive from front to back.

Europeans,
they let out their emotions

and their, their excitement
out on their sleeves

and-and they let you know instantly.

Right now on this tour,

Bruce is the biggest
he's ever been in Europe.

It's a second home for us.

It's magic.

♪ Will not let you down ♪

♪ My love, love, love, love, love, love ♪

♪ Will not let you down ♪

♪ My love, love, love, love, love, love ♪

♪ Will not let you down ♪

♪ My love, love, love, love, love, love ♪

♪ Will not let you down ♪

♪ Well, hold still now, darling ♪

♪ Hold still for God's sake ♪

♪ I got me a promise
I ain't afraid to make ♪

♪ I ain't afraid ♪

♪ My love, love, love, love, love, love ♪

♪ Will not let you down ♪

♪ My love, love, love, love, love, love ♪

♪ Will not let you down ♪

♪ My love, love, love, love, love, love ♪

♪ Will not let you down ♪

♪ My love, love, love, love, love, love ♪

♪ Will not let you down ♪

We have been waiting
for this with anticipation for...

It's been seven years

since you saw a real
E Street, uh, concert in Europe.

Bruce's fan community, I think,
is one of the strongest in the world.

There's this sense of unity
that unites us all.

His community is like,
I think it's on another level.

Some of my best friends,
I've met in the pit

at a Springsteen concert.

This year in Barcelona,

to see the band again,
all the friends, the crowd,

and we are singing along.

I know people all over Germany,
from Switzerland,

from Austria, from Sweden, from England,

it's a big community.

When we're together,
we're the best of friends,

we connect, we know each other,
we connect with each other.

It's like we have been friends
for a lifetime.

We have met for many tours.

We have grown older together

and we've all connected because of Bruce.

We're talking about friendship,
we're talking about love.

For three hours, all dancing,
not thinking about anything.

We try to, to live the moment.

I just want it to last forever.

There's part of the show when he says,
"Do you wanna go home?"

Everybody, "No!"

Hey, Steve.

Yeah, baby?

I think it's time to go home now.

Are you saying... What?

I said, I think it's time to go home.

The first time I saw Bruce
at a club until today,

there are certain fundamentals of the show

that have never changed.

And one of them is no matter how serious

some of the songs are

and how serious the tone of the show is...

Do you wanna go home?

He always finds
a space for humor.

It's always there.

That's part of his vision
of what he's doing.

Max don't wanna fuckin' go home.

And as we know...

If Max Weinberg don't go home,

- nobody goes fuckin' home.
- Nobody wants to go home.

One, two, three!

I can't even wrap my head around
how are they able to move

all this huge amount of gear that we have

from point A to point B.

I always laugh because, you know,
if you look backstage there's,

you know, there's these
road cases full of 40 guitars.

Every show we did
in the early days, one guitar.

When you see all these guitars,

it's a lot of work maintaining them.

But at the same time, it's a blessing that
we have 'em.

I don't have the time to,
"Oh, hold on a second, Bruce,

I'll be right with you."

If he turns around and gives me that look,

I have gig-mares about it, truthfully,

to tell you the truth, man.

In the early days when we traveled,

I think we started in a Club Wagon.

You couldn't lay down to sleep.

You had to, you know, sleep like this.

By the time I joined,
things were a little better.

Not much.

I think by then, we graduated to the bus.

You know, we customized
it ourselves with army cots.

It had to be chained
to the wall.

And every time the bus
went around a corner,

the bunk beds would...

Would kinda lean over.

Shortly thereafter,
we went to a motor home,

and actually it was the GMC Motorhome,

which was at the time very modern.

Well, it was a huge step up.

Here, you could turn the tables down into
little bunks.

There was a fold-down,
like on a submarine,

Bruce had that.

There was a sofa,

you took the cushions off,
and Clarence could fit on that.

There was a, a table
that recessed into the floor,

and Garry and Roy slept on that.

Except it really wasn't
wide enough for two people.

So Garry and I would sleep foot to head

and we put a little mattress over it.

And in the back was another table
that we could lay out,

and Danny and I slept in it.

Driving six, seven hours, you could sleep.

One of my fondest memories is we woke up

to the smell of Clarence
cooking breakfast.

He made pancakes, bacon, eggs.

Anything you want,
like a short order cook,

like the father.

And it was really,
it was really fantastic.

Give us a limerick,
a limerick, Clarence.

Now, as I was saying...

It was a very bonding
experience.

And that bond, thousands of shows later,

that's what gets played out on stage.

If you get swept up in the spirit,

you'll be able to figure out a way in.

I grew up seeing my uncle there.

It gave him so much happiness,

which is why I've always
been really particular

about playing his horn,

playing his mouthpiece.

Like, I need... I need to keep
as much of him

with me as possible.

Those solos, those sax solos,

Badlands, Jungleland, Prove It All Night

that puts Clarence right back there.

It's almost like this transference.

Bruce loves stability

and so when he finds
the person that's a match

for what he needs,

he tends to keep that person.

Having this musical
and communal experience,

I never took it for granted.

I'm very grateful to be part of the band

and all the fabulously talented people

that are up on that stage.

I listen to what everyone is doing

and just try to add my little spice to it.

Not too much but just part of the whole.

Clarence and Danny
have not been forgotten.

Nightshift.

People hear that song
in the show in a lot of ways

and the way I hear it is...

he's talking about our guys.

♪ Marvin ♪

♪ He was a friend of mine ♪

♪ And he could sing his song ♪

♪ His heart in every line ♪

♪ Marvin ♪

♪ Marvin ♪

♪ Sang of the joy and pain ♪

♪ He opened up our minds ♪

♪ I still can hear him say ♪

♪ Oh, talk to me ♪

- ♪ Ooh, ooh ♪
- ♪ So you can see what's goin' on ♪

♪ Say you will ♪

♪ Sing your songs ♪

♪ Forevermore ♪

♪ Forevermore ♪

♪ Oh, gonna be some sweet sounds ♪

♪ Coming down ♪

Nightshift early on,
I mean, I was curious to see

how the crowd was gonna be
receptive to it.

The fact that the singers come forward
and they take the spotlight.

We were in sound check.

He said, "Ada, you know,
I think I want you"

to do a little something here."

He didn't specify as to exactly what that
something was gonna be.

♪ On the nightshift ♪

And I knew that if it was too much,
he would say,

"Uh, pull it back a little bit."

♪ ...not alone, on the nightshift ♪

But he said, "No, no, no, I want more."

"There you go, this is a seed.

Now let's see what it grows into."

♪ Oh, it's gonna be on the ♪

♪ Oh ♪

♪ Yes, it is ♪

♪ Oh ♪

♪ Yes, it is ♪

He just said, "We're going down front",

we're gonna do this together."

And I'm sort of kind of watching him.

A lot of it was me just observing him.

♪ Nightshift ♪

One night, we stepping down
as I usually do,

and Bruce kind of let
the song go a little longer

and sit a minute.

It's almost like on pause,
let people feel that moment.

I mean, we're talking
about those who have passed.

♪ ...another home ♪

And then he sang a higher note.

♪ I know you're not alone ♪

I sang a note over him.

I remember him saying...

- I can try.
- "Try, I can try."

I took that as, "Let me just do something"

that might be a little different."

He seemed to react to it.
He responded to it when I went higher.

And then it went on from there.

It just started developing.

♪ It's gonna be a long night ♪

♪ It's gonna be alright ♪

♪ On the nightshift ♪

♪ On the nightshift ♪

♪ You found another home ♪

- ♪ I know you're not alone ♪
- ♪ Not alone ♪

♪ On the nightshift ♪

♪ Ooh, ooh, ooh, ooh ♪

- ♪ You found another home ♪
- ♪ Another home ♪

- ♪ I know you're not alone ♪
- ♪ Not alone ♪

♪ On the nightshift ♪

Nightshift, that's become a showstopper.

Come on!

♪ Ooh, ooh, ooh, ooh, ooh, ooh ♪

♪ Hee, hee, hee, hee, hee ♪

♪ Ooh, ooh, ooh, ooh, ooh, ooh ♪

♪ Hee, hee, hee, hee ♪

♪ Hee, hee, hee, hee, hee ♪

♪ Nightshift ♪

Curtis King!

Miss Ada Dyer, Michelle Moore,

and Lisa Lowell.

The E Street Choir.

A little Mary's Place , just to remind us.

The greatest musical
influences of my youth

are all my soul music mentors.

They've guided me on stage
and shaped our show

for many years.

Sam & Dave, James Brown, Jackie Wilson.

Come on!

They still inspire me
as a band leader to this day.

Is there anybody alive out there?

We're trying to translate
in our musical language

what he's doing moment to moment.

Even if he just twitches his butt,

you kind of know
where he is going with that.

Sort of visual cues on stage,

certain tells that Bruce
might have physically

that indicate he's about to do something.

He might not know what that is,
but he's about to do something.

He cues with his shoulders a lot.

He'll cue with his hand.

There are cues with the guitar.

You just have to watch him.

He knows what to give us
in order to make all these things happen.

♪ Meet me at Mary's place ♪

Come on!

♪ Woo! ♪

- ♪ Ooh! ♪
- ♪ Meet me at Mary's place ♪

♪ Ooh ♪

♪ Meet me at Mary's place ♪

Hit it, Max.

Shh!

The greatest skill Bruce has

is demanding the attention
of an audience...

Shh.

And being able to direct it

however way he'd like.

Hit it, Max.

Shh.

He has an amazing

amount of control,

and he can quiet that crowd to
where you can hear a pin drop.

Shh.

He directed me to
stop playing completely,

just the piano.

Just Roy.

Shh.

- And then he said, "Nobody."
- Nobody.

And he wanted silence.

Love you, Bruce!

This is the genius of Bruce.

Nobody.

The complete silence on stage...

Woo!

Tends to make people

very nervous.

I mean, you never see
anybody do this on stage.

It takes a lot of thought and detailing

to make it all look tight

and to be spontaneous at the same time.

In the early '60s,
me, Bruce, and Garry

had gone to see Sam & Dave.

Seeing an R&B, you know,
a soul music show up close,

you know, it was like in,
in a little club,

uh, I-in those days was just
an incredible impression on you.

He has a way of being
able to pull those nuggets

from these different genres
of music that seem unrelated.

But then he's able to kind
of weave them into the mix

in a way that it's very relatable.

And tapping into all these various streams
of American music.

You got a little gospel in there,

you got a little rock and roll,
a little jazz.

We're improvising, like we
made a conscious effort.

We could have worked out
our little eight bars,

and we play the same
eight bars every night

and it's gonna be perfect.

But that's not what Bruce wants.

Bruce wants, like, say what
you're feeling at that moment.

Kitty's Back
is a very different song,

and it's very loose...

let everybody have their moment
and do what they want.

He goes, "You know, guys,
I want something"

"after you guys finish
your solo in the horn section,

I want you guys to come up
with some kind of a horn soul lead."

Which means you're playing
the same thing together.

It's almost like a small group
at a jazz nightclub vibe.

It's an exciting thing

because you don't know
what's gonna happen.

I am a big fan of having
a very random set list,

and I know most of the other guys
would not agree with me.

On other tours,
we would always get a set list

maybe 30 minutes
before we would go on stage.

Well, the last tour,
he was a lot more spontaneous.

It was a lot of going out in the audience
and picking up signs.

Hey, can we stump the band?

If you knew it, you knew it

and if you didn't,
you just had to catch on.

♪ Ohh, your flat feet down on the ground ♪

♪ Yeah ♪

Hit it, boys. Come on, Charlie Giordano!

The audience had these signs.

Always exciting and nerve-wracking.

Bruce would go out and find
some of the most obscure songs

and song titles.

That was kind of the theme,
"Stump the E Street Band."

Alright, Professor...

Craning my neck to try
to see what was on the sign,

you know, and oh, my God.

We haven't played that in 10 years.

I don't think I've ever played that.

Is there chart somewhere on that?

Quick, quick.

And he'd oftentimes come back to the stage

with a dozen of 'em stacked up,

and he'd be flinging through 'em on stage

and find the one he wanted.

Give it to the organ man.

We were doing 15 different
songs a night.

Nobody knows what the hell's happening.

Turn 'em up! Turn 'em up!

There's an energy to that.

Three, four!

But you can't really get deep,
deep, deep in any one song

because you were just never
playing it that often.

That's one of the things
I like about this tour is

you can hear your band mates evolving.

It's not a jam session,
it's not a "Stump the Band,"

it's an experience, it's a show.

Bruce has put this
set list together meticulously.

Start listening a little closer.

There's different emotions being brought
out of each song every time you hear it.

♪ Blow away the dreams
that tear you apart ♪

♪ Blow away the dreams
that break your heart ♪

♪ Blow away the lies
that leave you nothing ♪

♪ But lost and brokenhearted ♪

♪ The dogs on Main Street howl
'cause they understand ♪

♪ If I could take this moment
into my hands ♪

♪ Mister, I ain't a boy, no, I'm a man ♪

♪ And I believe in a promised land ♪

♪ For the ones who had a notion,
a notion deep inside ♪

♪ That it ain't no sin
to be glad you're alive ♪

♪ I wanna find one face
that ain't looking through me ♪

♪ I wanna find one place,
I wanna spit in the face of these ♪

♪ Badlands, you gotta live it every day ♪

♪ Let the broken hearts stand
as the price you've gotta pay ♪

♪ Keep pushin' till it's understood ♪

♪ And these badlands
start treating us good ♪

♪ Whoa, whoa, whoa ♪

♪ There's spirits above and behind me ♪

♪ Faces gone black, eyes burnin' bright ♪

♪ May their precious blood bind me ♪

♪ Lord, as I stand
before your fiery light ♪

♪ Li, li, li, li, li, li, li, li, li, li ♪

♪ La-la-li-li-li-li-li-li-li-li ♪

♪ La-la-li-li-li-li-li-li-li-li ♪

♪ La-la-li-li-li-li-li-li-li-li ♪

My first concert, I was 19.

I skipped school the
next day too.

Since then, I've seen him
in Spain, in Germany,

in the UK, in Italy.

Now I'm 37, and I grew up with Bruce.

My first Springsteen show
was here in Oslo in 1993.

Oh, it was so magic.

You just get happy.

So happy.

My dad is a massive
Springsteen fan.

He's been listening to him all his life.

It's always really special
to go to concerts with him,

having, like, that history.

He's the reason that
I love Springsteen now.

When I first got into his music,

I could connect to these
scenes that he described

and to these feelings that he described,

to me after all these years,

it still means a lot to me
and that I still enjoy so much.

I always get emotional when I,

when I go to Bruce Springsteen concerts.

You know, it's just like
he takes his soul,

and he puts it into music.

So I think that everyone can relate to it.

We don't expect the man to tour forever.

We hope he does, we hope
he tours for as long as he can.

But we're appreciating these moments.

We want to soak up every last moment
of this, just in case.

Just a little, where it says horn,
it's just a little riff.

♪ I'm the last man standing ♪

♪ Do, do, do, do, da, da ♪

Let's try just Curt.

That's good. Alright.

So I'm gonna tell a little story.

And I'll go into the song.

From the beginning of the tour,

he has told the story of Last Man Standing

and why that phrase came to him.

And the story he tells is that he realized

when his friend George Theiss passed away,

that of all the members
of his first rock band,

he was the last man standing.

I think he reads into that notion

an increased sense of mortality.

He's next.

That's kind of like
you're standing on the tracks

with the white hot light
of an oncoming train

bearing down upon you.

It brings a certain clarity of thought,

you may not have previously experienced.

Because death's final
and lasting gift to the living

is an expanded vision of life itself.

George passed away

shortly after I wrote this song.

It's just about the passions
we follow as children,

not knowing where they're going to lead us

and how at 15 it's all
tomorrows and hellos

and then later on there's
a lot more yesterdays and goodbyes.

♪ Out of school and out of work ♪

♪ Thrift-store jeans and flannel shirts ♪

♪ The lights go down
as you face the crowd ♪

♪ Oh, the last man standing ♪

♪ Lights come up at the Legion Hall ♪

♪ Pool cues go back up on the wall ♪

♪ Pack your guitar
and have one last beer ♪

♪ With just the ringing in your ears ♪

♪ Rock of ages lift me somehow ♪

♪ Somewhere high and hard and loud ♪

♪ Somewhere deep into
the heart of the crowd ♪

♪ Oh, I'm the last man standing ♪

♪ Oh, the last man standing ♪

One of the most emotional parts

of this show is the juxtaposition of

Last Man Standing and Backstreets.

Last Man Standing talked about friendship
and end of days.

Then he put it up against Backstreets,

a song from 50 years ago,
about betrayal of some sort.

Backstreets reads
a whole other way

in the shadow of Last Man Standing.

Bruce seems to be again
talking about the mementos

of his lost friend.

♪ Endless juke joints and Valentino drag ♪

♪ Where dancers scraped the tears ♪

♪ Up off the street dressed down in rags ♪

♪ Running into the darkness ♪

♪ Some hurt bad, some really dying ♪

♪ At night sometimes
it seemed you could hear ♪

♪ The whole damn city crying ♪

♪ Blame it on the lies that killed us ♪

♪ On the truth that ran us down ♪

♪ You can blame it all on me ♪

♪ Terry, it don't matter to me now ♪

♪ When the breakdown hit at midnight ♪

♪ There was nothin' left to say ♪

♪ But I hated him ♪

♪ And I hated you when you went away ♪

♪ Say yeah ♪

♪ Laying here in the dark ♪

♪ You're like an angel on my chest ♪

♪ Just another tramp of hearts ♪

♪ Crying tears of faithlessness ♪

♪ Remember all the movies,
Terry, we'd go see ♪

♪ Trying to learn how to walk
like the heroes ♪

♪ We thought we had to be ♪

♪ Well, after all this time ♪

♪ To find we're just like all the rest ♪

♪ Stranded in the park ♪

♪ And forced to confess ♪

♪ To hiding on the backstreets ♪

♪ Hiding on the backstreets ♪

♪ We swore forever friends ♪

♪ On the backstreets until the end ♪

♪ Till the end ♪

In the breakdown where
it's just Roy and Bruce...

♪ Till the end ♪

he's continuing the story

that he began in Last Man Standing

and brings the two together.

Now I got, I got that
box of 45s that you left me...

and I got all your old books...

and I got the, the guitar that you used

to keep down at the end of your bed.

And I got that picture of the two of us

sitting on your porch
on your wedding day...

and you were barely 19.

And everything else... everything else...

I'm gonna carry right here.

I'm gonna carry right here.

I'm gonna carry right here.

I'm gonna carry right here.

♪ Until the end ♪

♪ Until the end ♪

♪ Until the end ♪

Until the end.

♪ Hiding on the backstreets ♪

♪ Hiding on the backstreets ♪

♪ Hiding on the backstreets ♪

♪ Hiding on the backstreets ♪

♪ Hiding on the backstreets ♪

♪ Hiding on the backstreets ♪

♪ Hiding on the backstreets ♪

♪ Hiding on the backstreets ♪

♪ Hiding on the backstreets ♪

♪ Hiding on the backstreets ♪

♪ Hiding on the backstreets ♪

♪ Hiding on the backstreets ♪

♪ Hiding on the backstreets ♪

♪ Hiding on the backstreets ♪

♪ Hiding on the backstreets ♪

♪ Hiding on the backstreets ♪

♪ Hiding on the backstreets ♪

♪ Hiding on the backstreets ♪

♪ Was alright ♪

♪ We're all hiding
on the backstreets tonight ♪

♪ On the backstreets ♪

♪ On the backstreets ♪

♪ On the backstreets ♪

♪ On the backstreets ♪

♪ On the backstreets ♪

♪ On the backstreets ♪

♪ Yeah ♪

♪ Oh, oh, oh ♪

♪ Oh, oh, oh ♪

♪ Oh ♪

♪ Oh ♪

To go in the space
of a half an hour

from the depths of Last Man Standing

into some of his most well-known songs.

The fact that he can cover
that range of territory

he always has.

Backstreet is the beginning
of this ramp-up,

this insane rollercoaster
that is the rest of the show.

♪ Born in the U.S.A. ♪

♪ I was born in the U.S.A. ♪

♪ I was born in the U.S.A. ♪

♪ I'm a long gone Daddy in the U.S.A. ♪

♪ Born in the U.S.A. ♪

♪ Born in the U.S.A. ♪

♪ Born in the U.S.A. ♪

♪ Born in the U.S.A. ♪

One, two, three!

♪ Hey, baby ♪

♪ Hey, baby ♪

♪ Hey, baby ♪

♪ Hey, baby ♪

♪ Hey, baby ♪

♪ Hey, baby ♪

♪ Aah ♪

♪ Someday, girl, I don't know when ♪

♪ We're gonna get to that place ♪

♪ We really want to go ♪

♪ We'll walk in the sun ♪

♪ Till then, tramps like us ♪

♪ Baby, we were born to run ♪

♪ Tramps like us ♪

♪ Baby, we were born to run ♪

♪ Oh, oh ♪

♪ Oh, oh ♪

♪ Oh, oh, oh, oh ♪

♪ Oh, oh, oh, oh ♪

♪ Oh, oh ♪

We end with
Tenth Avenue Freeze-Out.

We line up and take
a little bow with Bruce.

He gives everybody a, a thumbs up or,

you know, a pat on the back.

He just makes you feel like
you're the greatest.

Then he goes on to
finish the show by himself.

He comes back one last moment
with the acoustic guitar.

It's of vital importance
that he ties together

the underlying thoughts and feelings

that make this show different
than any other show he's done.

♪ The road is long ♪

♪ And seeming without end ♪

♪ The days just go on ♪

♪ And I remember you, my friend ♪

♪ And though you're gone ♪

♪ And my heart's been emptied it seems ♪

♪ I'll see you in my dreams ♪

♪ I got your guitar ♪

♪ Here by the bed ♪

♪ All your favorite records ♪

♪ And all the books that you read ♪

♪ And though my soul feels like ♪

♪ It's been split at the seams ♪

♪ I'll see you in my dreams ♪

♪ I'll see you in my dreams ♪

♪ When all our summers
have come to an end ♪

♪ I'll see you in my dreams ♪

♪ We'll meet and live and laugh again ♪

♪ I'll see you in my dreams ♪

♪ Up around the river bend ♪

♪ For death is not the end ♪

♪ And I'll see ♪

♪ You in my dreams ♪

♪ I'll see you in my dreams ♪

♪ When all our summers
have come to an end ♪

♪ I'll see you in my dreams ♪

♪ We'll meet and live and love again ♪

♪ I'll see you in my dreams ♪

♪ Up around the river bend ♪

♪ For death is not the end ♪

♪ 'Cause I'll see ♪

♪ You in my dreams ♪

♪ You in my ♪

♪ I'll see ♪

♪ You in my dreams ♪

The E Street Band loves you!

I stuck closely
to our original set list

on this tour

because it told the story
I wanted to communicate.

Life, death, and everything in between.

Playing music as you get older
is an interesting

and tricky business.

Now I plan on continuing
until the wheels come off

and for as long as
the band will follow me.

There's one thing I know,

after 50 years on the road,
it's too late to stop now.

Time moves quickly
when you are on the road.

And I've always believed the audience

does not pay necessarily
to hear their favorite song

or to see your aging face again.

But they pay for the
intensity of your presence,

how alive you are on any given evening.

That's the beating heart of my job,

to be there and only there,

playing for all the stakes
rock and roll has to offer

for you, in your town, on this night.

And in doing so, I want to leave you with

life's possibilities,

with energy to take outside
the concert gates,

to bring into your life
with a smile on your face

and some feeling of love in your heart,

a quiet soul,
and hopefully a lifted spirit.

It's my job.

I'm left with one thought,
it's a quote from Jim Morrison,

"O great creator of being"

"grant us one more hour
to perform our art..."

"and to perfect our lives."

Jersey in the house!

On the trombone,

Ozzie Melendez, Barry Danielian,

Curt Ramm, Eddie Manion.

Curtis King, Lisa Lowell,

Michelle Moore, Ada Dyer,

sister Soozie Tyrell,
brother Charlie Giordano.

On the guitar, Nils Lofgren.

On the saxophone, Jake Clemons.

On the drums, the mighty,
mighty Max Weinberg.

On percussion, Anthony Almonte.

On piano, Professor Roy Bittan.

Miss Patti Scialfa.

On base, Garry W. Tallent.

And last but not least,

on guitar,

Little...

Steven Van Zandt.

Bring it up, bring it up, bring it up.

Bring it up, bring it up.

Bring it up, bring it up.

One, two, three, go!

Whoo!

That's right.

♪ Tear drops on the city ♪

♪ Bad Scooter searching for his groove ♪

♪ The whole world walking pretty ♪

♪ And you can't find the room to move ♪

♪ Well, everybody better
move over, that's all ♪

♪ I'm running on the bad side
got my back to the wall ♪

♪ Tenth Avenue freeze-out ♪

♪ Say it again ♪

♪ Tenth Avenue freeze-out ♪

♪ I'm stranded in the jungle ♪

♪ Taking all the heat they givin' ♪

♪ Yeah now ♪

♪ The night is dark
but the sidewalk's bright ♪

♪ And lined with the light of the livin' ♪

♪ From a tenement window
a transistor blasts ♪

♪ Turn around the corner
things got real quiet real fast ♪

♪ She hit me with a ♪

♪ Tenth Avenue freeze-out ♪

♪ Say it again ♪

♪ Tenth Avenue freeze-out ♪

♪ And I'm all alone ♪

♪ I'm all alone ♪

♪ And kid you better get the picture ♪

♪ I'm on my own ♪

♪ I'm on my own ♪

♪ And I can't go home ♪

Now this is the important part.

♪ They made that change uptown ♪

♪ And the Big Man joined the band ♪

♪ From the coastline to the city ♪

♪ All the little pretties
raise their hands ♪

♪ I'm gonna sit back
right easy and laugh ♪

♪ When Scooter and the Big Man
bust this city in half ♪

♪ With a ♪

♪ Tenth Avenue freeze-out ♪

♪ Say it again ♪

♪ Tenth Avenue freeze-out ♪

♪ One more time ♪

♪ Tenth Avenue freeze-out ♪

♪ One more time ♪

♪ Tenth Avenue freeze-out ♪

♪ Everybody form a line ♪

♪ Tenth Avenue freeze-out ♪

♪ Everybody form a line ♪

♪ Tenth Avenue freeze-out ♪

♪ Everybody form a line ♪

♪ Tenth Avenue freeze-out ♪

♪ Everybody form a line ♪

♪ Tenth Avenue freeze-out ♪

- ♪ I said say it ♪
- ♪ Say it ♪

- ♪ Say it ♪
- ♪ Say it ♪

- ♪ Say it ♪
- ♪ Say it ♪

- ♪ Say it ♪
- ♪ Say it ♪

- ♪ Say it ♪
- ♪ Say it ♪

- ♪ Say it ♪
- ♪ Say it ♪

- ♪ Say it ♪
- ♪ Say it ♪

- ♪ Say it ♪
- ♪ Say it ♪

- ♪ Say it ♪
- ♪ Say it ♪

- ♪ Say it ♪
- ♪ Say it ♪

- ♪ Say it ♪
- ♪ Say it ♪

- ♪ Say it ♪
- ♪ Say it ♪

- ♪ Say it ♪
- ♪ Say it ♪

- ♪ Say it ♪
- ♪ Say it ♪

♪ Oh yeah ♪

♪ Oh yeah ♪

♪ Oh yeah ♪

♪ It's alright ♪

Beautiful, Ma. Beautiful.

Beautiful.