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News Updated August 8, Since the E Street Band as a whole was welcomed into the NJHOF in , Max has already enjoyed the honor of induction, but he'll be celebrated this fall as an individual. The 14th Annual Induction Ceremony will be virtual, with specific dates and times airing on multiple dates across multiple channels to be announced after Labor Day.
Today's release, Brendan Byrne Arena, August 19, , joins those two shows in the Live Archive series, and August 6 as well, as the fourth official live release from the Meadowlands summer stand. The concert was one of 55 the band has played there to date, more than any other venue. The Born in the U. A Tour featured a shift for the E Street Band. It was the first tour after Steven Van Zandt left the band though he made guest appearances, including a big one on August 20 and was replaced as lead guitarist by Nils Lofgren.
The tour also saw the addition of Patti Scialfa on vocals and percussion. Like the other nights at Brendan Byrne, the show opened with "Born in the U. But given the duration of the run, Bruce and the band switched up the setlist each night, offering variety while keeping the focus on material from both albums released since their previous tour, Nebraska and Born in the U.
On August 19, the special guest appearance came from the Miami Horns, beefing up "Tenth Avenue Freeze-out" as well as the onslaught of covers in the encore.
This was the first of three pop-ins the horns would make that summer, followed the very next night by a memorable turn on " Drift Away " for the stand's finale. In fact, it's one of only five plays for the entirety of the Born in the U. As the song begins, cheers dissipate and fans fall almost silent, hanging onto every word of the song's childhood dream narrative. On playback, you can take yourself into the moment as Bruce's voice and story ring throughout the hushed arena.
Continuing on, the inherent fun of an E Street Band show begins to prevail. Another thing that just sets this concert aside from others: Bruce and the band sound more rehearsed after 27 shows, since starting on June 29 in St. Moreover, they're at home: a relaxed feeling comes through, as a reminder of being connected to the music and spending time with old friends.
From the stamina he displays to Bruce's notably gruff voice, a youthful, raw sound carries the music here, as if the band were still in its infancy — nearly 40 years on and some 20 years into the Reunion era, one could argue that they were. Compared with No Nukes just five years earlier, here the music is more refined as the band continued to find its groove — not to mention some newly prominent synths.
Nights like this were just the start of something for Bruce, as his audience expanded the Born in the U. Also read: Erik Flannigan's latest nugs. Sending all the best to Ms. Photographs by Riku Olkkonen. Happy birthday, Pats! In short, the market-based system works as intended. Quoted in a larger piece billed as an exclusive in the New York Times, Landau addressed fans' ongoing frustration with the dynamic pricing platform, stating that the prices for the U. The Times story, written by personal finance columnist Ron Lieber who stated in the column that he's a "longtime" Springsteen fan , explored the past week's events with a mix of voices, scenarios, and the "confusion" around the pricing environment: "Dynamic pricing isn't new , though it was new to plenty of Mr.
Springsteen's fans this month," Lieber wrote. It's four in the morning and raining. We're feeling old, listening to the outcries of fans feeling similarly betrayed by last week's ticket sales, and remembering that things were different a decade ago.
Because we know our audience, the fans, and count ourselves among them, it feels unnecessary to recap here what transpired on Wednesday when Ticketmaster's first U.
But if you need a catch-up we can point you to Variety , industry observer Bob Lefsetz , or to practically any news outlet of your choice to get the broad strokes of what happened.
Call it what you like: market pricing, dynamic pricing, surge pricing, Platinum pricing. Just don't call it The New Normal. From our point of view, this so-called premium, algorithm-driven model violates an implicit contract between Bruce Springsteen and his fans, one in which the audience side of the equation appeared to truly matter — and in fact was crucial. We believed it because he told us repeatedly it was true.
We can imagine Lefsetz and others, perhaps, snickering here, but we still know our audience: we've all been made to feel we're part of an ongoing conversation, one in which we were all "in concert," a vital element of the formula: "If you're here, and we're here… they're here.
This past week, too many Springsteen fans got thrown to the wolves, pushed aside in a way that seems as unfathomable as it was avoidable. The artist has maintained that he understands the essential role of his audience. How, then, did we end up facing, in far too many instances, prices for tickets that exceeded normalcy, then departed from reality entirely by orders of magnitude?
But from our point of view, it boils down to the stark difference between inside and outside. So many fans who have always gone to the shows, who have always been part of This Thing of Ours, now can't go, will not be inside, will not be part of the conversation, purely because they can't pay the cost to see the Boss.
Bruce Springsteen tickets have been historically and notoriously difficult to obtain. That's the nature of the beast, with so many wanting to witness the power and the glory of rock 'n' roll, and relatively few seats to hold them.
But the issue has rarely been the money. Over many years, there have been continuous, clear efforts made by the Springsteen camp to keep things fair and as fan-centric as possible, to foil scalpers, to give average concert-goers and fans the best shot at a reasonable price in a world where bots run rampant and scalpers rule.
For decades, Springsteen kept his ticket prices significantly lower than what the market might bear, which felt in keeping with his brand, his stated philosophies, his belief in community, and his clear view of what a concert was supposed to be, as for three hours or so — and sometimes more — he and the band gave us a glimpse of a better world.
The tent over E Street has always been big, inviting, and open, but what about the question he began to ask in … are we missing anybody? After this week, it sure appears the answer has changed. What were we to think when we made it through the queue on Wednesday morning to find that tickets — initial sales, not resales — were on offer for thousands of dollars?
In the past, no matter how difficult tickets were to score, persistence paid off. Now, it seems, persistence just ratchets the algorithm up another notch. Or four. Surely, these multi-thousand-dollar prices were not intended or anticipated, many of us thought. Some assert the algorithm got out of control — are we sure that it was ever in control?
We'd never expect Ticketmaster to balk at making money, but surely, many believed, Springsteen would put a stop to it and demand adjustments to the system, if not an overhaul, before the next onsale. Friday came with a general repeat of circumstances and even more fans in disbelief. As recently as last month's European offering, we've seen Ticketmaster cancel an onsale when conditions called for it and reschedule for the following day.
So if these prices were unintentional, it's hard to imagine a good reason for the second onsale, let alone a third. For the ticketsellers, the end result of dynamic pricing must be a feature and not a bug.
Wait a minute. We thought it was raining. Is it not raining? That might be a takeaway from data Ticketmaster just shared with us, suggesting that the rain is an illusion. Variety reports these Ticketmaster-provided stats, a series of figures that don't quite add up appear to tell the full story, that obscure more than clarify. In the end, these numbers only leave us with more questions. The biggest one being, if it's not raining, why are we getting soaked?
But the ideals Springsteen's music puts forward — they're still alive, aren't they? Whether in the grooves or in concert, wherever those guitars ring out? In our shared spirit? If one can't say yes — if only for a few hours every so often — then maybe the magic really is just tricks. Springsteen has been paid a king's ransom, and we've never begrudged him that, either.
We believe in the value of his music, his work; those other transactions and the arenas in which they take place feel beyond our purview. What happens in the actual physical arenas, where every few years Springsteen and his audience come together to create something bigger than all of us — and everybody has a decent shot to be part of it, at a reasonable price — that's something that remains worth fighting for. Because in rock 'n' roll, as we've come to believe, one plus one does equal three.
To wit: Ticketmaster's Official Platinum seat program enables market-based pricing adjusting prices according to supply and demand for live event tickets, similar to how airline tickets and hotel rooms are sold.
The goal is to give the most passionate fans fair and safe access to the best tickets, while enabling artists and other people involved in staging live events to price tickets closer to their true market value. To answer just one question we've heard a lot today, as we saw ticket prices quickly soar well into the thousands of dollars apiece for the initial Ticketmaster transaction, before any resales , there is no consistent "face value" for these tickets: The price you pay is the original price of the ticket.
Official Platinum Seats were not purchased initially and then posted for resale; they are being sold for the first time through Ticketmaster on behalf of the artist or Event Organizer. If you're looking around for the license plate of the truck that hit you, wondering what the hell happened and how we got here It may also provide some consolation, even with no satisfying answer at the moment.
We won't bury the lede — Rich's take, one we share, that dynamic pricing, "for lack of a better term, is a fucking shit-show. As usual, eminently knowledgeable longtime fan Greg Drew hosts the proceedings; as Greg puts it, this time around there's "a little less talk from me, a little more music; bar bands play long sets with very few breaks.
Don't forget your beer money or your dancing shoes, and may the truth ring out from every small-town bar. Every big-city bar, too.
New dates for the Tour , this time in Edinburgh , Birmingham , and London. Get Verified! European dates for the international tour were announced in May and over 1. Tour dates in the UK will also take place next year, with cities and shows to be announced very soon. Tickets for the U. The tour will be using Ticketmaster's Verified Fan platform for tickets sold via Ticketmaster. Fans can register for Ticketmaster Verified Fan starting now through Sunday, July 17 for the chance to buy tickets.
All registrants who are verified will be equally eligible to receive a unique access code for the Verified Fan Onsale. Registering does not guarantee you will receive a code, or have the ability to purchase tickets. For shows utilizing Verified Fan, the Verified Fan Onsale will take place between 10am and 2pm local time.
If tickets remain, a general onsale for all fans begins the same day at 3pm local time with no code required. The show has been rescheduled to celebrate Labor Day, rather than the Fourth of July, and tickets will be honored for the September 4 date.
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