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It certainly felt like the band made the most of their time in Tampa - particularly once they started blazing through a show-ending run of classics like “Born to Run,” “Rosalita (Come Out Tonight)” and “Dancing in the Dark,” with Springsteen even mimicking his famous dance moves from the latter’s music video. “So you gotta make the most of right now.” “At 15, it’s all tomorrows… at 73, it’s a whole lot of yesterdays,” he summarized, to roaring audience support. The most emotionally charged moment might’ve come with Springsteen’s spellbinding solo acoustic performance of Letter ballad “Last Man Standing,” preceded by his lone preamble of the evening - which explained the song as being inspired by the death of an early bandmate, leaving him the lone living member of his first-ever band.

(Last year’s Only the Strong Survive cover set got a quick two-song mini-set, while 2019’s dustier group of originals Western Stars was not represented at all.) The new songs meshed surprisingly well with the old - particularly the anthemic “Ghosts,” which already sounds like it should’ve been a live fixture for decades - with the repetitive “House of a Thousand Guitars” the lone selection where you could feel the energy lag a bit. The show also aimed to demonstrate that Springsteen still has it as a songwriter, with a whopping six tracks pulled from his 2020 LP Letter to You. (Bruce’s years might show most in his sense of humor, including on-stage banter with sideman Stevie Van Zandt during the ending of “Glory Days” about it being “time for us to go home… it’s way past my normal bedtime.”) Among his classic rock peers, perhaps only Stevie Nicks can compare in terms of the amount electricity they can summon to this day simply by lifting their arms. But he still shows a wiry, near-pugilistic scrappiness onstage - perhaps a little stiffer in movement, but no less authoritative and striking for it. His voice is obviously still mighty, but you might’ve wondered if age and time off would result in Springsteen, now 73, appearing visibly diminished. (Only one song actually from The River, the boisterous rave-up “Out in the Street,” made the cut presumably Springsteen figured we got our fill of that double LP the last time out.) Renditions of longtime live staples like “Prove It All Night,” “She’s the One” and “Johnny 99” were positively scorching - and though the show’s setlist was relatively light on major curveballs, longtime fans in attendance were no doubt pleased to hear the extended shine given to jammier early cuts “The E Street Shuffle” and “Kitty’s Back,” Springsteen even conducting the brass section in individual solos on the latter.Īnd the man himself remains a physical marvel. The setlist also reflected this ethos, with the spirit of the selections being far more side two of The River than side four. No time for putting on airs there was six years’ worth of rocking to catch up on.

fist-pumping fan-favorite “No Surrender,” and the energy stayed at that level close to throughout the 28-song set. The group was cooking from the opener, Born in the U.S.A. They may be rock history’s most successful bar band, but they still have that working man’s approach to the gig - and priority one of Wednesday’s show was demonstrating that they were back in business, and picking right up where they left off. But in many ways, that’s just Bruce Springsteen and the E Street Band.

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