A sojourn in California for Springsteen and the E Street Band already memorable thanks to strikingly good shows in San Diego and San Francisco concluded in Inglewood as April got underway on their 2024 World Tour. With the Kia Forum the site of another two-night stand that feeling of endless possibility many thought had forever subsided was again present for the fans in the house on April 4th. Could those onstage treat them to an even better set of shows than in San Francisco?
The answer to that question would be quite emphatic by the end of this show alone, and the tone for it was immediately set by the tour debuting opener, “Boom Boom.” On tours past the song served as an expression of ardent love, but on this night it was much more of a promise from Bruce to his audience. Preluding what he’d shortly convey as his and the E Street Band’s mission statement, when he declared “I’m gonna shoot ya right down!” here, that was a guarantee for a night of hard-hitting rock and roll. In that vain, he took on a vocal approach for this one that didn’t see much style (albeit the odd exceptions such as his vigorous “right now!” and sensual “c’mon c’mon!”) and instead he was very direct when it came to telling Los Angeles of his intentions. While Bruce’s vocal stood out, the efforts of the E Street Band did also, with Charlie Giordano and the E Street Horns shining before Bruce called out “Bada Bing! Little Steven!” for his consigliere to play a vicious guitar solo that added further to the intense atmosphere. An appropriately explosive opener on a night where L.A. would be blown away.
The purpose that flowed through the exciting opener could also be found in the songs that followed to shape the opening portion of the set. “Lonesome Day” immediately conveyed a primary message of the night’s music: strength after loss, and with more strong work from the Horns beside the Choir’s assuring harmonies, this one too saw Bruce rather direct in his vocal delivery, although his falsetto late on was fantastic. Evidently from these first two songs, the commitment that fuelled the shows in San Diego and San Francisco was fuelling this one all the more. Adding much weight to that statement next was “Prove It All Night,” which through its rapturous guitar playing almost instantly assured the Kia Center that this one would exceed those nights in the Pechanga Arena and Chase Center. A man and his band playing like they had a point to prove!
Although the tempo lowered after the Darkness track – it would be difficult to maintain that level of energy admittedly! – the intensity certainly didn’t relent as “Trapped” in its first 2024 outing brought arguably an even greater catharsis than the songs prior! Of course, it was Jake Clemons and his towering saxophone solo who made for the greatest relief here, but he wasn’t alone in standing out as Bruce, Little Steven, Garry Tallent and the Choir also gave their all on the way to a mighty performance of the song. An aspect of this one that I particularly enjoyed mightn’t have even been intentional, as that thundering finale driven by Max Weinberg (talk about Mighty!) saw what could have been a small misstep (4:50 for Live Downloads listeners) however it made for an awesome moment at the finish line that only added to the power of the music. Even in potential drawbacks there can be positives.
More liberation followed with “Two Hearts,” sparked into life by the contrasting sounds of Charlie and Max (the former’s organ riffs sweet where the latter’s drumming was forceful), and once it got underway it was a pleasure for all to hear Bruce and Stevie sharing the mic together. The way their joy resonated throughout the Kia Forum also translates through our headphones and speakers, allowing everyone of us to enjoy this riveting River rocker, whether we were in the house on April 4th or not. This song of companionship led into an ode for those who have left us next in “Ghosts,” and after an extended drumbeat intro from Max to signify L.A. getting that extra touch of magic, Bruce led a stupendous performance with a vibrant vocal that simply radiated energy. That energy everyone, onstage and in the audience, fed off to continue this song’s insanely hot streak on this tour, resulting in a sixth must-listen performance. The build into the coda that saw Bruce call on Roy Bittan as well as Stevie, Charlie and Jake was sensational, and the finale, anchored by Jake and Max was purely invigorating. We can bemoan the many Letter To You songs that haven’t been played consistently over the last year, but at the same time we should be grateful this one has stuck around for all but one show. The title track of the 2020 LP was fittingly next, and it saw a similarly inspired performance from those onstage that added to “Ghosts’” themes of mortality and legacy, before “The Promised Land” capped off the opening portion of the show as a defining song of that legacy so sentimentally sung about in “Letter To You.”
Then came a very special moment for Los Angeles, one that was long anticipated by many of the E Street faithful, the return of Ms. Patti Scialfa to the stage! Absent since February 7th of last year, speculation as to why Patti hasn’t been touring has been rife, but for her to make an appearance here, although only a small one, put a halt to questions and calmed any concerns. While only hanging around for two songs, Bruce sought to make these two stand out on the night, and that was certainly the case with a double shot of tour debuts. Up first was “Tougher Than the Rest,” a song we’ve been fortunate enough to hear Bruce and Patti sing together in Los Angeles during the very early days of their companionship through Archive Series releases from the Tunnel of Love Express Tour, and this song performance was a very nice example of love persevering. The first of two songs that were intimate between Bruce and Patti despite the presence of the E Street Band and those in the audience, E Street Band members really added to this one, with Soozie Tyrell’s violin absolutely gorgeous throughout – especially when she complemented Bruce’s guitar solo – and the Horns’ riffs superb for that ultimate “if you’re rough and tougher for love!” line. This is an essential in the catalogue that fans have been waiting a long time to hear again, and it was worth the wait.
Next up, “Fire,” but with a little twist to the norm. Despite Bruce saying “Patti’s never done it I think…” this song featured in the 2021 revival of Springsteen on Broadway with Patti at the forefront of it. That was also the case here during this semi-acoustic rendition, and as Bruce’s manager Mr. Jon Landau commented three years ago in reference to Broadway 2.0, Patti taking control of the song is an expert move in the wake of the #MeToo movement as it allows all of us to appreciate how “Fire” is simply a fun track about lust between lovers contrary to how some may interpret its lyrics. Patti’s approach to the song was incredibly delicate, and L.A. joined in as we’d expect to support her, making a communal moment between all while Bruce and Patti shared interactions so steamy the fire alarm in the Kia Forum could have been triggered! The E Street Band then joined in for the finale, with Jake playing gorgeous sax to serenade the lovers’ moment – Bruce’s “burning in my sooouuuul!” was a cherry – and while there was more to come, the declaration of “a special night for Los Angeles!” made by Bruce upon Patti walking onstage was very, very true.
Having made her presence felt, Ms. Patti left the stage for the evening, but Bruce and the E Street Band kept going with two more love songs to see this stretch out. “Hungry Heart” was first, another song that brought the participation of L.A. to the fore, and then, a surprise even greater than Patti’s appearance. You could even call it a shock to the system: “Jole Blon.” By request, Bruce made a comment on the sign during the River rouser prior, and while it’s exciting to see the spontaneity of sign requests return (even the ones that are “impossible to read!”), that this sign read the name of Gary U.S. Bonds’ gem is massive. For it to have been played is colossal. After the way the 2023 tour went, the list of songs I didn’t expect to see played again was very long, so long that a hidden gem like “Jole Blon” gets forgotten about. Unsurprisingly, it was so sweeter on the ear knowing how special this moment was, and Bruce evidently felt that too in the way he sang “when I hear your sweet voice I rejoooice!” early on. There was more evidence of that as the song went on as well, as in addition to inspired efforts from Stevie, Garry, Charlie and Soozie, there was Bruce laughing off his voice breaking while singing “on the baaaaanks of the River!” and the way he teased L.A. to ensure even louder participation. It may be the first of many this year; it may well be the last time it’s ever played, but make no mistake, for Springsteen and the E Street Band to play “Jole Blon” in the year 2024 is an absolute gift.
The conclusion of that spontaneous fun saw those onstage shift back into thematic themes with “Spirit in the Night” to further rouse the audience while calling on them to feel the presence of those not physically in the house, and the lively atmosphere was maintained as “No Surrender” made its return to the setlist. It now seems so odd anywhere but as an opener, but it followed on the Greetings favourite superbly and complemented the three slower songs after it – “My City of Ruins,” “Nightshift” and “Last Man Standing” – wonderfully. This was a trio ultimately heightened in emotion on this night because of the words Bruce spoke before the first in his tribute to George Theiss and The Castiles. Contrasting the usual introduction of the song, here he told L.A. that “Grieving is the price we pay for love” and that beautiful sentiment was greatly conveyed in these three songs. “Ruins” and “Nightshift” saw the Horns, Choir and audience spotlighted in particular, and both were highly soulful, from “I pray for HOPE!” to “oh I know you’ll pull a crowd now!”, to stress just how from the heart they were on Bruce’s part. In contrast, “Last Man Standing” was a sobering semi-solo performance from Bruce who was supported by Barry Danelian for a brief moment only, and that was evident in his vocal approach, which was rather bare, without any of the robustness that directed the Rising closer and Commodores cover from Only the Strong Survive. As we well know by this point, though, that vocal approach only made the passion of “Backstreets” even greater, and while it saw Bruce straining as he sang a few lines, this highlighted the effort he was putting into the song alongside the E Street Band, of which core members: Stevie, Max, Roy, Garry, Charlie, returned to the stage following their short break with force.
While “Backstreets” of course saw its fire momentarily contrasted by Bruce’s soft interlude in tribute to George Theiss before an incredible finale, the E Street Band’s forceful playing seeped into the following songs, with Nils Lofgren playing a very vicious solo in “Because the Night” and Jake driving a “She’s the One” that allowed everyone in the house to shine, and everyone to bring the heat. “Wrecking Ball” was more of the same, albeit a contrast in tone as a more thematic track than the two prior, and with “The Rising” following, these two again made for an emotional, but also triumphant pairing. That triumph would be amplified as the sequence – and main set – came to an end through “Badlands” and “Thunder Road,” and although the liberating Horns finale of the Born to Run great could’ve ended this show as surefire tour essential there and then, there was more forcefulness, more emotion and more triumph still to come in the encore.
The “Land of Hope and Dreams” that kicked off the home stretch actually featured those three aspects by itself, as Bruce offered another communal invitation to his audience after “Thunder Road” by way of a pronounced performance. As was the case on night two in San Francisco, Bruce employed both tenderness and great passion to this one, while being supported by an equally passionate Little Steven on harmonies and mandolin duty, and by the great work of Roy and Jake, who nicely took on an element of Bruce’s vocal approach: Roy delicate, Jake resounding. With no dedications on this night, “Land of Hope and Dreams” was truly a song for everyone, and as they did on March 31st, those onstage brought out their best.
There was no relenting from that attitude in the remaining songs, of which the only song change was the sincere “Bobby Jean” returning while the animated “Glory Days” was left out, but there was a notable performance contrast as the night came to an end. On March 31st, the highly spirited energy of “Born to Run,” “Rosalita,” “Dancing in the Dark,” “Tenth Avenue Freeze-Out” and “Twist and Shout” left Bruce’s vocal shredded and his closing performance of “I’ll See You in My Dreams” a struggle for him to fully get through. His and the E Street Band’s energy was no less committed here, but thankfully Bruce got through their final cover of the evening unscathed, and perhaps with the knowledge of that weaker “Dreams” to end the San Francisco show in mind, he put as much soul into this one as he could – that final, drawn out declaration of “dreeeaaams” the finest and most gorgeous example – to ensure this special night in Los Angeles ended as just that. At the end of my March 28th review I commented that the game had changed. After a staggering three hours and nineteen minutes, this one has turned that game on its head. Quite simply, wow!
Roll on night two.
Kieran’s recommended listening from April 4th, 2024 – Inglewood, CA:
“Boom Boom,” “Lonesome Day,” “Prove It All Night,” “Trapped,” “Ghosts,” “Letter To You,” “The Promised Land,” “Tougher Than the Rest,” “Fire,” “Jole Blon,” “Spirit in the Night,” “My City of Ruins,” “Nightshift,” “Last Man Standing,” “Backstreets,” “She’s the One,” “Badlands,” “Thunder Road,” “Land of Hope and Dreams,” “Rosalita (Come Out Tonight),” “Dancing in the Dark,” “Twist and Shout” and “I’ll See You in My Dreams.”
You can download Springsteen and the E Street Band’s first night in Inglewood here.
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