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Backstreets. com: 2. Setlists. April 2. Paramount Theatre / Asbury Park, NJNotes: It was such an unlikely occurrence that it seemed not only improbable but well nigh impossible that Bruce Springsteen would make an unannounced appearance on an Asbury Park stage on two successive nights. It was unlikely even in the mid- '8. Yet there he was up on the stage of the Paramount Theatre again on day three of the Asbury Park Music & Film Festival, a four- day music and film event. Even without the presence of Springsteen, Saturday night's headliner — the long- awaited return of Little Steven & the Disciples of Soul — would have been momentous.

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And we have a new album. But against all odds, there he was again for the encore. After the outstanding full set from the Disciples, Stevie called out, . Trademark Fender guitar in hand, Bruce joined his old friend at center stage and helped close the show with two songs. It's difficult to overstate the emotional impact of the song on fans of the Jersey Shore music scene; like . On Saturday night, even if it were just Van Zandt by himself at the mic, the song would have packed a powerful punch. But with these two lifelong friends and music partners sharing the mic at center stage, the performance became one for the ages.

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What to close with, then? How about a Chuck Berry song? How about Bruce taking the second verse, which more or less tells the story of his own life: She remembered taking money out from gathering crop. And buying Johnny's guitar at a broker shop.

As long as he would play it by the railroad side. And wouldn't get in trouble he was satisfied.

But never thought that there would come a day like this. When she would have to give her son a goodbye kiss. At the song's conclusion, a beaming Bruce leaned into the mic and shouted . The audience stood and clamored for several moments, but to no avail; there would be no encore. Van Zandt and his new Disciples will be performing many shows in the coming months, but there will be few to match what happened at the Paramount Theatre.- Lisa Iannucci reporting - photographs by Mark Krajnak/Jersey.

Style Photography. Setlist: It's Been a Long Time. Bye Bye Johnny. April 2. Paramount Theatre / Asbury Park, NJNotes: Friday night, a sold- out Paramount Theatre bore witness not just to the world premiere of Just Before the Dawn: Riot, Redemption, Rock 'n' Roll, but the long- awaited onstage reunion of many of the key figures in the history of Asbury Park's legendary Upstage club. While many of the musicians in attendance have appeared onstage together in various capacities over the years — many still live in the area — such gatherings have become increasingly rare. And the appearance of Asbury's unofficial . Yet, here they were, gathered in celebration of their unique shared history in the short- lived venue on Cookman Avenue.

The documentary itself was well- received, as the audience greeted the appearance of familiar figures onscreen with warm applause. It's a fairly straightforward doc that employs all the standard techniques — archival film footage, candid interviews, voice- over narration — and audiences looking for a brief history of a familiar place and time with some great music will come away satisfied.

Entertaining as Just Before the Dawn is, however, it barely scratches the surface of its subject. The history of the Upstage and the larger story of Asbury Park's rise and fall are vast and complex topics that don't easily lend themselves to the 9.

Historians like Daniel Wolff (Fourth of July, Asbury Park) and Charles and Margaret Horner (Classic Urban Harmony) have been wise to explore this complicated history not by being all- inclusive, but by honing on particular aspects of the story — a key theme or genre, a particular series of events. The story of Asbury Park in many ways is a story of America in microcosm, a conundrum that demands a long- form, multi- episode format. Unfortunately, much of the tale still waits to be told. Taking in the film, sitting a few rows back from the screen in the darkened Paramount Theatre, must have been a d. The self- described . Their appearance onstage a few minutes after the intermission was no great surprise to many in attendance.

Indeed, no small number of tickets were snatched up in the hours just prior to the event, as word filtered out that a Springsteen appearance was in the offing. Nonetheless, a thrilled audience leapt to its feet when the curtain drew back to reveal Little Steven and his new Disciples lineup augmented by a certain Freehold native on Gibson guitar and, to his left, former local whiz kid David Sancious and another local bandleader by the name of Southside Johnny. Southside burst into a Jukes- esque, horn- drenched . This was followed by a rousing rendition of The Band's . Dressed in work shirt and jeans, an unassuming Bruce hung back from the center mic for a good portion of the show.

On a night celebrating the communal spirit of the Upstage, the frontman role was shared by many, with Asbury Jukes keyboardist and official ringleader Jeff Kazee somehow managing to coordinate the comings and goings of an endless array of musicians and instruments without any apparent mishaps. The next segment was led by the Upstage Jam Band — a who's who of Asbury Park music lore, including the likes of Ernest . Springsteen and Lyon in tow, backing the two of them as Bruce took lead vocals on a version of Little Richard's . Bruce calling for Sancious to play the Hammond B- 3 was priceless; . Bruce and Southside duetted a la Sam & Dave on Chris Kenner's New Orleans chestnut . Of note here was a rare full- band version of the Bruce Springsteen Band- era tune . He remembered all the words!

Bruce left the stage briefly to make way for Jeff Kazee's lead vocal turn on . Southside stepped back to center mic to lead off the Jukes classic .

Even with Bruce and Southside doing the yeoman's share of leads, there was plenty of room for each musician to have a moment or two to shine, just as they had in the old days. Goode/Roll Over, Beethoven (all)February 2. Order Fifty Shades Darker (2017) Movie.

Mt Smart Stadium / Auckland, NZNotes: As it did in 2. Springsteen 2. 01. Australia and New Zealand finished in an industrialized section of Auckland on a warm summer's night. Three years ago Born to Run was played in its entirety and . On Saturday night the show began with three Born in the U. S. A. Both tour closers sent Kiwis and Aussies and global denizens of E Street Nation into the night with aching feet, strained vocal chords and the usual conjecture about when (if?) Bruce and the band would be back again.

It was dripping from the eyes and down the cheeks of people throughout Mt Smart Stadium. Buckets of them. Women, men, young, old. Tears that fell throughout the night but poured during a final acoustic . Tears of joy and sadness like I've never seen at a concert before. We're all getting older; appearances to the contrary the man himself is closing on 7. E Street Band has herculean numbers on its odometer. Does that explain it?

After losing so much grace and greatness in 2. We know this won't go on forever: every show is a tick on the countdown, every goodbye a roll of the dice. If so, Saturday night in Auckland — and I don't care how corny this sounds — was all sevens.

One person's Good- time Party Show is another's Safe Setlist Letdown; one's Rarity Bonanza is someone else's Night of the Unknowns. This 2. 01. 7 summer tour closer would be the rare gig that all factions could agree on — it was a Get Off Your Ass and Dance show through and through. And that's clearly what Springsteen had in mind: unlike Tuesday night's first- ever Christchurch concert, which saw him collecting signs after the opening number, no requests were taken or played. Bruce had a firm hand on the wheel all night, the collective eyes of the band locked on him even more than usual, a breakneck pace maintained by The Boss from the band's entrance at 7: 2. Bruce's lone departure at 1.