He Who Doesn’t Get The Whole, Doesn’t Get The Half Either
Hovet, Stockholm, Sweden, June 25, 2005
By Erik Flannigan
Many nations can lay claim to being Bruce Springsteen’s second home or adopted country. Italy has a strong case, given the ancestral roots of Bruce’s mother Adele (maiden name Zerilli) and a history of special shows that took place there, particularly in Milano. England is in the conversation too, with an incredible run of concerts dating back to 1975, and the passion of Spanish fans is well documented on Live in Barcelona. Australia may be a latecomer, but there’s no denying the love affair between Bruce and the land down under that played out in two major tours in 2014 and 2017.
Yet it would be hard to deny Sweden the symbolic honor of first among equals. Sverige’s history with Springsteen also dates back to 1975, when it was one of three markets Springsteen played on a brief European sojourn on the Born to Run tour. But the special relationship really starts with a pair of shows inside the very building in which this Devils & Dust performance takes place. Then called Johanneshovs Isstadion, the venue was the site of two legendary nights on the 1981 European leg of the River tour, memorialized on the famous vinyl bootlegs Follow That Dream and Teardrops on the City.
Four years later, Gothenburg cemented its place in the narrative with two dates at Springsteen’s home away from home in Sweden, Ullevi Stadium. Legend has it the passionate response of fans in Ullevi actually caused structural damage to the building in ‘85, and Springsteen has played the stadium nine times since that human rumble took its toll. Throw in the 1988 radio broadcast from Stockholms Stadion, the Tom Joad tour at Cirkus, and many other celebrated gigs, and the case is quite compelling. The country’s passion for Springsteen never wanes. Case in point: He sold out three stadium shows in Gothenburg alone in 2016, where it would appear he is as popular now as he was in 1985.
You can hear the special bond with Bruce’s Swedish fans on Stockholm 2005. Jon Altschiller’s mix showcases the audience-artist dynamic and the interplay between the two that makes live performance so special and so missed in these times of social isolation.
One element that made the Devils & Dust tour so bewitching was ever-changing setlists. At nearly every stop, Bruce dusted off a few songs that had been sitting on the shelf awhile and added them to a common core. In Stockholm, he opens with the tour debut of “Downbound Train,” hearkening back to those Ullevi ’85 shows. Boldly, the second song of the night is one of the highlights of that common core, “Reason to Believe.” Springsteen completely reimagined the song on this tour, transforming “Reason to Believe” into a Delta blues stomper with his inventive use of the bullet microphone.
Bullet mics are designed for harmonicas, with intentionally limited frequency range (usually cutting anything above 5,000 khz) and distortion. For his new take on “Reason to Believe,” Bruce played harmonica and sang his vocals through the bullet mic, distorting his voice and crunching down the sound to an eerily narrow slice.
The result sounds like an otherworldly transmission from the Crossroads or a lost Bluebird 78 RPM record spinning in the past. Rearranging his own songs is something Springsteen has excelled at going all the way back to “E Street Shuffle,” but this radical and riveting “Reason to Believe” is one of his most memorable and a standout every night of the Devils & Dust tour.
“Empty Sky” from The Rising had a second act on the tour as well, making close to two dozen appearances. The mournful tale rides Springsteen’s percussive acoustic guitar and focused vocals. Two guitar songs follow, the heartfelt parental reflection “Long Time Comin’,” which gains poignancy when Springsteen sings off-microphone, and the least-played track from Devils & Dust, “Black Cowboys,” which made 16 setlists in 2005.
Bruce moves to the keys for a rare outing of “The Promise,” in its first ever performance in Sweden. What a moment that must have been for diehard fans, five years before it became the title of the Darkness on the Edge of Town box set. We go down to “The River” on piano as well, with a striking prelude that starts with a single note, builds, swells and then settles solemnly before Bruce sings the evocative first lines.
Though it had been a standard feature on the Tunnel of Love Express tour, Bruce’s entertaining evolution tale, “Part Man, Part Monkey,” had its own second life on the Devils & Dust tour, a narrative befitting the candor Bruce was expressing about human behavior in story and song during the shows, sometimes in deeply contrasting ways. Several Link Wray guitar turns only add to the appeal.
“All I’m Thinking About” is an underrated charmer. Sung in a faltering falsetto, it’s a series of sweet, real-life snapshots (little boys carrying fishing poles, little girls picking huckleberries) set to a simple chorus of devotion (or obsession?). Two songs later in “Reno,” fishing poles and blueberries give way to a price list of front and back door sexual access. Damn.
Snuck in between (no pun intended) is “Across the Border,” played for the first time since the Joad tour, augmented with a rich, accordion-like harmonica. You’d never know Springsteen hadn’t played it in so long, his reading is faultless.
Over to the irresistible eclectic piano we go for “Point Blank,” sounding more haunting and knowing than ever, then a true gift, “Walk Like a Man,” making its second archive appearance this year. Springsteen starts it on electric piano (not unlike the arrangement of “Tunnel of Love” from the previously released Grand Rapids 2005 show) and it unfolds warmly. It’s interesting to note that when he last played the song in 1988, he had no children of his own. Singing it here, Bruce is son and father. The song’s gravitas rises for the final verse as Bruce switches to full piano and the arrangement grows richer and more confident. What a gift to have two incredible live versions in our hands now.
That theme of fatherhood is enhanced with the piano pairing of “Walk Like a Man” with “My Hometown” in a powerful, straight-ahead reading where every line rings true. With that, the first half of the show concludes and we move back to guitar for “The Rising” and an intense take of “Lucky Town,” with Bruce strumming his acoustic with physicality and conviction like “Darkness on the Edge of Town” at the 1990 Christic Institute performances.
The back nine of the show rides his conviction to excellent performances of a trio of story songs, “This Hard Land,” “The Hitter,” and “Matamoros Banks.” One might go so far as to call “The Hitter” the closest thing to an unpublished screenplay Springsteen has penned since “Highway Patrolman” and until Western Stars, where it could have slotted in nicely. As character studies go, it is one of his finest.
As he does so masterfully, Springsteen rounds the bend and lightens the mood with a storming, Seeger-ized “Ramrod,” Dylan-ized “Bobby Jean” and a true-blue “Blinded By the Light,” making its Scandinavian premiere 32 years after its release.
The show wraps with the soul-stirring Devils & Dust tour pairing of “The Promised Land” and a cover of Suicide’s “Dream Baby Dream,” both offered in meditative, at times mantra-like arrangements. In “Dream Baby Dream,” the words “keep on dreaming” and “I just want to see you smile” sink into our subconscious, floating on dark-cloud organ notes that brighten as they turn towards heaven. Given the genuine dark clouds that so many of us are weathering, the spiritual power of the “Dream Baby Dream” mantra may provide genuine solace.
