“This song is about the way the radio connected everybody when we were young. When you heard something you loved and it felt so personal to you – like a secret whispered into your ear – you were sitting home alone at night. Yet somewhere inside, you knew you were connected to all of these other people, dreaming the same dream as you were in that moment.”
This quote comes from Bruce’s introduction to “Save My Love” during the Band’s first of two concerts at Gothenburg’s Ullevi Stadium, but it also rather succinctly captures both the Swedes’ special connection with the Boss, and how they share that connection with the international community of fans who always descend on their lovely country when Bruce and the Band pay a visit. Comprehending the nature of this connection is key to understanding why Bruce always seems to treat Sweden to unique concerts, and this one – the second longest of his career in terms of duration at three hours and 57 minutes, and tied for the most songs ever played at 38 – was no exception.
Along with Barcelona and Milan, Gothenburg has long vied for the title of the best city to see Bruce in the world, and the fan bases from each of these cities take great nationalist pride in trying to convince everyone that they deserve the crown. Since I’ve been surrounded by many Spaniards, Italians, and Swedes during my time in Europe, I’ve found myself partaking in conversations with each to debate the respective Bruce merits of these cities. Though I cannot yet make a final declaration on which deserves the title, I can vouch for the legitimacy of a comparison that I heard recently: “To most Europeans, Bruce is king. But in Sweden, he is God.” And like most trusty disciples, the Swedes seem exceedingly concerned with forging and preserving a communal fellowship of like-minded believers whenever Bruce comes to town.
Everybody has probably heard what sets Gothenburg apart from Barcelona and Milan; whereas Bruce may be one of a countless number of big shows happening in these major metropolises during any given week, the E Street Band visiting Gothenburg is a gigantic event worthy of being marked in the city’s yearly calendar. As such, the town – not a tiny village by any means, but its size pales in comparison to Barcelona and Milan – turns into Bruce central when the Boss comes to town; their newspapers are literally overrun with stories about him, and a plethora of establishments around the city blast his music 24/7. And yet, none of these more superficial indicators properly convey what makes Gothenburg such a special hub for E Street Nation.
In most cities, the line to get into the Pit has started 4-5 days prior to the concerts. In Gothenburg, it started one full week before. Though ensuring a front row spot was definitely a factor, it seemed like the people who started the line were more concerned with opening for business as soon as possible something that can only be described as Bruce Camp.
Unlike at most venues, the Pit line for Gothenburg was not stationed outside of the stadium; instead, they set up shop in a nearby field. Whereas only a few people hang out in line at any given time in other cities, most of the crazies who helped organize the Pit line literally camped out in this field and spent all of their time here. Seemingly at any time of day, this campsite was overflowing with Bruce-aholics sitting around, drinking, talking/debating/arguing all things Boss, sharing their favorite concert-related stories, engaging in deep conversations about what specific songs meant to them and their lives, and just reveling in the rare opportunity to enjoy the company of equally obsessive fans. Unlike the pathetic versions of this discourse found on message boards, these interactions were all exceedingly friendly and enjoyable, rooted in a mutual respect based on the fact that we were all clearly devoted fans since we had decided to spend so much of our time simply hanging out at Bruce Camp.
I really do believe that the Pit line started so early in Gothenburg because the Swedes were excessively excited to get Bruce Camp up and running. Think of a kid on Christmas who opens their presents the night of December 24 because she’s too overwhelmed with anticipation to wait until the morning; that’s who the early arrivals felt like. Yes, they were still rewarded with the present of the front row, but they seemed to place extreme importance in creating a place where E Street fans from all over the world could flock and congregate for the days leading up to the concert.
Though I’ve sworn not to write as much about the younger generation of Springsteen fans, I’d be remiss not to point out how many of the people who made the trek and stayed in Bruce Camp were more youthful than your usual E Street Nation members. Not only that, they seemed to take great nationalist pride in ensuring that this city in this country would feel like a home to all of their fellow Springsteen worshippers. I spent the evening before the concert with an untold number of fans in Bruce Camp, all drinking and talking Springsteen and listening/singing along to a wide range of his songs around a makeshift collection of bonfires. As someone who’s younger than most of Bruce’s American fans, I’ve often somewhat felt like an outsider in the community simply because I haven’t been around for as long as so many others. Yet in Gothenburg, surrounded by fans my age, I felt like I totally and completely belonged – I had finally found a community of my own. It was a night that I will remember for the rest of my life…and it was just one of many special moments that I’m sure were shared by other people throughout the week, day and night.
These moments were only possible due to the intimate connection Sweden feels to Bruce. Since a majority of the country speaks fluent English, his music speaks to them on a personal level not attainable in many other European countries. In addition, they seem to feel this intense desire to share their connection with the rest of E Street Nation. Since the Swedes appear to agree with my long-held assertion that Bruce’s music provides a framework through which his fans can better understand and connect to the world both inside and around them, the Swedes make a point of emphasizing the immense communal power that comes with sharing this framework with others.
I firmly believe Bruce feels this when he performs in Sweden, which is why he’s not only treated them to so many special shows but seems to craft setlists dedicated to their undying passion. Take the first song of the show – the tour premiere of “The Promise,” which Bruce performed solo on the piano. This obscure and abstruse masterpiece of an outtake can be considered a sort of sequel – be it narrative or thematic – to “Thunder Road,” two words that appear many times in the song. It features a character – perhaps the same one from his seminal Born to Run track – who still believes and is pursuing the youthful promise that he made both to the world and more importantly to himself to hit the road to case the promised land. Bruce never specifies an exact location or the precise conditions of such a promised land, but in the words of the similar lead character from the title track of the album, “Someday girl, I don’t know when / We’re gonna get to that place / Where we really want to go / And we’ll walk in the sun / But till then tramps like us / Baby we were born to run.” These characters aren’t sure where they want to go, but they know there’s a world out there better than the lives they’re leading now, and they make a promise to themselves to go out and not stop until they find it.
“The Promise” catches back up with these characters years later, after life has chewed up and spit out the dream of what this promise could possibly bring – as it usually does to our youthful hopes and desires. Yet its lead character refuses to forsake his promise no matter what; he’s still following “that dream just like those guys do up on that screen.” In a way, the song is shedding a realistic light on the romantic idealism of Bruce’s writing on Born to Run, which used such conventionally cinematic imagery as “we’ll walk in the sun.” Though “The Promise” can easily be interpreted in a tragic light, the protagonist’s undying commitment to his promise can just as easily be viewed as admirable. Who doesn’t respect a person who wails into the void to stay true to his core, despite being aware that such wails may keep falling on the deaf ears of life?
In a way, the Swedes’ undying commitment to Bruce, and his passionate dedication in turn to the life-changing and eternal power of rock and roll are reminiscent of the lead character’s plight in “The Promise.” After all of these years, and all of the trials and tribulations that have come with them, Bruce and his Swedish fans are still staying true to the youthful promise that they made to each other many decades ago, or for some very recently. As rock and roll slowly dies around them, Bruce’s raucous concerts in Sweden feel like wails into the void – but oh what wonderful and powerful wails. We may not think we’re as great as we once were, and we may now feel the end closer than ever, but until the darkness of the void overtakes us forever, we will continue to promise to wail as a means of escape for as long as we’re here.
And wail the Swedes – and their fellow international fans who made the journey here – did. When the first notes of “The Promise” sounded through Ullevi, there was almost a stunned silence as the pit denizens looked at each other in disbelief at what they were hearing, followed by a roar of approval. Such impassioned responses continued throughout every song of the opening stretch, even making newer songs like “My Lucky Day” – its second outing of the tour – feel like classic warhorses received with the same amount of enthusiasm as true staples like “Badlands.” The infectious energy of the Pit – reinforced by the days and days we had spent together leading up to the show – spread like wildfire, with fans connecting with each other all across the front of the floor.
Which brings us back to the Bruce’s introduction to “Save My Love” – the only sign request of the night, and a song he clearly associates more with European fandom because he’s only played it at one proper E Street Band concert in America – that I quoted at the beginning of this piece. His idea of music connecting people all over the world felt directly applicable to the Swedish and international fans in attendance, particularly those who had spent time in Bruce Camp. Not only that, it served as a reminder of the importance of building up to an anticipated moment.
When Bruce played “Save My Love” in Coventry, he only briefly mentioned that the song was inspired by his youthful days of listening to his transistor radio underneath his pillow, failing to elaborate on his personal thoughts that were inspired by doing so. By providing the Gothenburg crowd with additional context to better understand the song, the performance further resonated with the crowd. Similarly, the shenanigans of Bruce Camp leading up to the concert definitely resulted in the crowd much more emphatically responding to the show; this communal atmosphere provided the perfect context to fully enjoy the E Street Band spectacular. “My City of Ruins” two songs later only reinforced the importance of this community to the overall effect of a concert.
Yet more appeared to be on Bruce’s mind than just his relationship with Sweden. Unsurprisingly, “Brexit” was a hot topic in Bruce Camp – probably one of the few not concerning Bruce whatsoever, though some people hypothesized on how Bruce would comment on the situation. The answer: surprisingly, not at all…at least not directly. There was nary an explicit mention of the issue, but he included a stretch mid-show of fairly political songs that – though they’ve appeared at a couple, if not more shows recently – adopted a slightly different meaning when heard in the wake of the ‘United’ Kingdom leaving the European ‘Union.’ It’s impossible to positively determine Bruce’s exact views on the matter, but given the seven songs from “Death to My Hometown” through “American Skin (41 Shots)” all in some way depict the negative ramifications – predominantly economical – of what happens when a home begins fighting against itself, these songs felt like an indictment on the U.K. turning against their European brother and sister countries.
“Death to My Hometown” introduced the concept of a destruction of a home, which relates to “Brexit” in that some believe the U.K. has begun the process of destroying their previous home of the European Union. “My Hometown” addresses the ramifications of in-fighting within a union through the lens of racism in America, ultimately leading to a picture of an economically downtrodden society sprung from this cultural division. In fact, the song depicts the sort of slow crumbling – both moral and economic – of a society that many opposers of “Brexit” predict the U.K. may succumb to.
The first verse presents an idyllic vision of Bruce’s hometown, referred to as “your hometown” at the end of the verse because Bruce cannot take ownership of it; this is the version of his hometown that his ancestors gave to him, similar to the currently prosperous British society that the past generation has bestowed onto the present. Yet after the second verse chronicles the racial violence committed by Americans against their neighbors, Bruce changes it to “my hometown” for he feels his generation is responsible for such violence. If “Brexit” causes the same sort of antagonism between people who were once considered united, this generation will have to take responsibility for that rift. And in the same way that America’s racial discord led to economic disaster for many small towns like Bruce’s own, “Brexit” may result in similar poverty for many small British villages.
The third verse of the song sounds eerily similar to a lot of the predictions that the top economists in the world are making about the United Kingdom’s future: “Now Main Street’s whitewashed windows and vacant stores / Seems like there ain’t nobody wants to come down here no more / They’re closing down the textile mill across the railroad tracks / Foreman says these jobs are going boys and they ain’t coming back to your hometown.” This is the world that the current generation may be forcing onto the next, which is why Bruce switches back to “your hometown” – it ultimately won’t belong to the current voters but to their children, who will basically inherit the sins of somebody else’s past. The song ends with the singer and his wife debating moving out of the town, which apparently many people in the U.K are already considering. Though Bruce may not have composed a speech about “Brexit,” this song perhaps did a lot of the talking for him.
Yet he wasn’t done: the next song, “Johnny 99,” chronicles the story of a man that has poverty forced upon him due to the decisions of his country. This newfound, sustained poverty leads him to commit a rash and heinous crime that defines the rest of his life; instead of his own government sympathizing with his plight by understanding their role in the situation, they simply turn against him and sentence him to death. “Youngstown” – which included a fiery solo from Nils – explores the deep dissonance between the higher levels of government that make all of a country’s decisions and the everyday workers that give their lives simply to allow such governments to thrive, usually by exploiting such workers. “The River” explores a relationship that crumbles in equal measures to that of the economy around it, and “American Skin (41 Shots)” ended the stretch by reminding everyone of the violent repercussions that often come with an “us vs. them” instead of a “we” mentality. Yet in typical Bruce fashion, he ended on a hopeful note with “The Promised Land.”
Though this was a socially conscious and hard-rocking stretch, it honestly probably plays a tad better on paper than it did in person because the crowd was aware of how often these songs have appeared in recent setlists. In fact, besides “The Promise,” “Save My Love,” and a doozy of a rarity I’ll get to in a few paragraphs, most of the setlist – though blissfully lengthy – felt a tad uninspired. Some readers have suggested that my gripes with these setlists emanate from the fact that I’ve simply seen too many shows, but my grievances were echoed by many others in the Pit, as evidenced by the energy seeming to wane as the show progressed. The argument could be made that a lot of these familiar songs are played for all of the casual fans not in the Pit, but I have two retorts:
1) These members of the crowd know very few of Bruce’s tunes, and as such they will most probably respond in a similar way to ANY non-classic track. Thus, Bruce could easily choose one of his countless songs that are just recognizable to those sitting in seats but haven’t been played as much on this tour.
2) Even if the majority of the stadium thoroughly enjoyed these more familiar songs – which I don’t necessarily think was the case since many asses remained in seats throughout the concert’s duration – at the end of the day those in the front of the Pit dictate the energy of a show because they’re the ones Bruce can most easily feel. Though he can somewhat see everyone in the stadium, he feeds off the front of the Pit way more than any other section due to simple geographic proximity. As such, when the energy in the Pit decreases, Bruce and the Band’s performances follow suit. And with loyal crowds like the one in Gothenburg, most of the people in the pit – and probably beyond – follow setlists from home; they know the difference between a tour rarity and tour regular even if they haven’t attended a plethora of shows, and they react accordingly based on how special of a setlist they know they’re getting. Needless to say, they’re extremely Bruce-literate and educated fans, so it’s no surprise that they seemed somewhat less than thrilled at hearing too many songs that have been played quite a few times on this and other recent tours.
Truth be told, I was a little disappointed in the crowd’s energy. If a city wants to claim the title of the Mecca of Bruce, its fans need to match the rabid energy of their Spanish and Italian counterparts, regardless of the setlist. Unfortunately, Gothenburg never scaled those heights. BUT, a caveat to this comparison: the day before the concert was a Swedish national holiday by the name of Midsummer, which is celebrated by the entire country basically drinking from the moment everyone awakens to the time they pass out. Perhaps their inevitable hangovers on the day of the concert kept them from bringing their A-game. Many of my Swedish friends claimed it was an off-night, so perhaps the second concert on Monday will be greeted by a fresher crowd.
Perhaps Bruce felt the crowd’s increasing disinterest late in the main set, for he mixed up the typical homestretch with a hell of a three-pack. First up: “Drive All Night,” which seems like as much of a Gothenburg staple as the stadium-breaker “Twist and Shout.” He even added in some slightly new performance elements, such as a few haunting whispers of, “Listen – don’t cry now.”
And then, it was time for a moment that potentially matched the revelatory opener: no doubt thanks to Patti’s presence, the first appearance in eight years (8!) of “Tunnel of Love” after being soundchecked multiple times in two different cities. It’s absolutely ludicrous that Bruce gave the song such a long hiatus – in addition to allowing all of those people who wanted a sequel to Born in the U.S.A. back in the day a fresh chance to realize the brilliance of the album, this title track also proves a comprehensive showcase of the vast array of talents of the E Street Band. Each member adds a subtle but integral element to the song, from Max’s deceptively tricky drum beat to Nils’ emotionally powerful guitar solo. Besides Patti somewhat failing to hit the song’s exceedingly high notes, it was a flawless performance, somewhat reminiscent of the their breathtaking execution of “Purple Rain” that made me want to experience such full band beauty every night; let’s hope many more audiences during upcoming shows are afforded the opportunity.
The stretch ended with yet another tour premiere: the first sans-horns performance of the also repeatedly soundchecked “Shackled and Drawn.” Though by no means as epic – and drawn out – as its nightly appearances on The Wrecking Ball Tour, the song still works its magic on a crowd more than most of Bruce’s other recent music.
This unexpected three-pack achieved the desired effect of re-engaging and thus re-energizing the crowd, whose enthusiasm had returned to the level necessary to properly fuel the show through the finish line. By the time “Because the Night” brought us back to familiar setlist territory, the length of the show also began to dawn on people. Before “Land of Hope and Dreams” even finished the main set, we had blown by the three-hour mark. Slowly starting to understand they were witnessing something special, the crowd seemed to elevate their game to celebrate the occasion, leading to a frenzied encore:
Max obliterated his solo on “Born in the U.S.A;” “Seven Nights to Rock” continues to rock seven ways to Sunday, with Bruce recently adding a bit where Max plays a ruthlessly quick beat as Bruce matches its speed with a kinetic shuffle all around the stage; “Dancing in the Dark” was accompanied by an adorably tiny Swedish woman excessively reveling in sharing the spotlight with the E Street Band; and Bruce once again introduced “Shout” by singing over the pre-song chords, “Is there anybody aliiiiiiiive out theeeeere?! If you’re aliiiiiiiive ooooooout theeeeeere, I waaaant to seeee youuuuu…….shaaaaaaaake your aaaaaaaaaaaass noooooow.” By the time a heartfelt “Thunder Road” closed the show, the crowd seemed ready for more, which Bruce egged on a little by saying, “We got another hour to go! You ain’t tired, are you?”
Even without any more songs, the show clocked in at a few minutes under four hours, the second longest running time of Bruce’s entire career. Yet I did agree with Bruce that the crowd felt ready for more, but perhaps that was Bruce’s intention since this was merely night one. Yes, he threw 38 total songs at them – tied for his most ever – but very few of these songs were truly special choices. “The Promise” was of course a revelation, “Save My Love” a treat, “Drive All Night” into “Tunnel of Love” is a top-shelf E Street Band two-pack…but the 34 other songs have been common occurrences in recent years. In addition, they were mostly played in the exact spots that anyone following recent setlists would’ve expected. Besides the aforementioned three-pack, there was no stretch that felt wholly spontaneous, as if legitimately any song could be played next. Instead, Bruce comfortably followed a familiar and somewhat unexciting setlist structure. As such, the entire evening felt felt like one long, loooong, but rather level and uneventful spectacular, with Bruce only calling upon one sign – “Save My Love.”
This last point is important because I think it reveals Bruce’s general approach to the concert. Instead of letting the crowd inspire him to dig deeper into his musical oeuvre, Bruce seemed intent on playing the exact songs he wanted to. Instead of the looser care-free vibe he’s projected at shows over the last few weeks, Bruce turned in a much more focused, intense performance, albeit one that never felt like it had room to stray into perhaps more interesting and unexpected territory. Though he by nooooo means phoned in his performance, it did feel like he was purposefully holding an extra special something back, almost setting himself up to be easily exceeded on night two by first getting out of the way all of the normal songs that he’s been relying on this tour.
Granted, if he replaces the likes of “Wrecking Ball” with the overplayed “No Surrender,” and swaps out the expected two-pack of “Youngstown” into “Murder Incorporated” with the equally expected “Candy’s Room” into “She’s the One,” night two will merely be a lateral improvement, probably disappointing his hordes of uber-loyal Swedish fans.
Honestly, I don’t think that’s going to happen. This felt about as solid of a typical night one as you can ask for – we got to enjoy a seemingly never-ending onslaught of classic E Street Band tunes, but the show never sustained a true level of greatness, once again proving the adage that quantity is not the same as quality. Quantity can of course improve quality because who doesn’t want to see the E Street Band play more songs than they basically ever have before? But the longest concert is not always the best concert, often looking better on the page than it does on the stage. Missing was the type of signature night two moments that make concerts unforgettable.
Yet in Gothenburg, I really couldn’t walk away disappointed, and not only because I had just witnessed history. The night before, I had a conversation with a fellow fan in Bruce Camp who had religiously followed past tours but couldn’t manage to do the same this year…but he was okay with that. In fact, even though he could barely afford to take any vacation days at work, he had still decided to skip the previous concert in Copenhagen to instead spend the time at Bruce Camp. Baffled, I asked him why; he had recently realized that his most lasting memories from his time on E Street were not of any specific concerts but rather of all the moments he shared with fellow fans turned friends before, after, and only sometimes during the concerts – but even those mid-concert memorable experiences were only made possible from bonding with fellow Tramps outside of the actual shows. Over the years, he had forgotten specific setlists and where he had seen a favorite song or what Bruce had decided to open with on a given date. The concerts and music had simply become apparatuses that facilitated some of his best memories. His recollections were consumed not with setlists but with all of the wonderful conversations he had enjoyed leading up to shows, most occurring while waiting in lines.
As the introduction to “Save My Love” reaffirmed, the build-up to an event often ends up defining the event in our memories, which are really our ultimate mementos from these shows. Special moments in life are often only made possible by these lead-ins. I sincerely hope that night one – though memorable – will best be remembered for how it allowed Bruce to knock it out of the park for night two. Perhaps that’s why Bruce bookended the setlist with the reverse storytelling of “The Promise” and “Thunder Road.” We may have started with the darker message of the former, but Bruce ended the night with the more hopeful story of the latter, a song overflowing with anticipation of what’s to come.
But even if night two fails to scale such lofty heights, I will always cherish these shows in Gothenburg because – quite simply – I will never forget my time in Bruce Camp…
 Milan is still to come…
 A term of endearment, FYI.
 For isn’t that the function of all religions?
 I believe this was the first time the song opened a show.
 The days of Bruce’s long winded political speeches may be permanently – to use his preferred sort of car imagery – in his rear view mirror.
 Since very few people are clamoring to hear “My Lucky Day” – admittedly a rarity on this tour – I don’t think you can put it in the same category as these other songs.
 These are fans who can and do easily rattle off the most memorable moments of Bruce’s history in the city, such as the fact that “Drive All Night” made its first post-original River tour appearance here.
 And hopefully a fresher setlist.
 This sentiment holds true for almost every song on the album, my personal favorite of his. Though Bruce seems only to delve into these tracks when Patti’s present, they really deserve to receive the modern E Street Band treatment regardless of her performance schedule, especially since Soozie apparently sung Patti’s part during the Berlin soundcheck and it sounded great. “Spare Parts,” “All That Heaven Will Allow,” “Two Faces,” “One Step Up,” etc. could be transformative live. Also, if Bruce ever announces he’s playing the full album at one show, I would fly to Antarctica to see it – it’s my #1 Boss bucket list item.
 Since Nils has some Swedish in his lineage – whenever a Band member has even a remote tangential connection to a country, those fans always take credit for them – Bruce seemed to go out of his way to shine a spotlight on him, granting him a grand total of three solos over the course of the night.
 I really want to believe the rumors that Mrs. Springsteen is actually sick, because if she’s not…her vocal chords might be permanently shot.
 Soundchecked but not played: “Seeds.”
 This story is too long for the main body of the piece, but it’s too funny not to expound upon here: this little munchkin of a lady – and I say that 100% endearingly; I love her – had a sign that read: “Can I dance with Jake in my hometown. Yes? No? Maybe?” with check boxes next to each (how thorough!). Once she was invited on stage, however, she almost didn’t know what to do with herself out of sheer excitement – first she tried dancing with Bruce until he pointed her to Jake. Mindlessly throwing her pocket book somewhere on stage and understandably out of breath due to a lifelong dream coming true, she danced awkwardly far away from Jake before deciding to run up to different members of the Band to say hello. Sufficiently cracking them up, Bruce obviously invited her to grab a guitar for the “Hey baby” call and response portion, which she pulled off with cute aplomb. Yet she wasn’t through when the song was; she scurried around the stage to find her tossed-aside pocket book, rifled through it for a few long seconds before finally found her cell phone, which she used to take a prolonged selfie…but not before having some difficulties getting her camera app to work. Understanding the comedy of the moment, Bruce made a big deal about how long she was making everyone wait before – post-selfie – actually shooing her off, which unsurprisingly took longer than normal because she at first walked down the wrong ramp. It was an incredible ordeal, and one that no doubt contributed to the almost unprecedented length of the concert…if the “Waitin’ on a Sunny Day” kid had actually sung the chorus twice like he was supposed to, we may have even exceeded the four-hour mark!
 And not because of the static setlists, wise guy.
 Here’s another reason why people should shut up who criticize fans for ‘wasting’ their vacation time in these cities waiting in lines instead of seeing the sights.
- The Promise
- Out in the Street
- The Ties That Bind
- Sherry Darling
- My Lucky Day
- Wrecking Ball
- Spirit in the Night
- Save My Love
- Hungry Heart
- My City of Ruins
- You Can Look (But You Better Not Touch)
- Death to My Hometown
- My Hometown
- Johnny 99
- Murder Incorporated
- The River
- American Skin (41 Shots)
- The Promised Land
- Working on the Highway
- Darlington County
- Waitin’ on a Sunny Day
- I’m on Fire
- Drive All Night
- Tunnel of Love
- Shackled and Drawn
- Because the Night
- The Rising
- Land of Hope and Dreams
- Born in the U.S.A.
- Born to Run
- Seven Nights to Rock
- Dancing in the Dark
- Tenth Avenue Freeze-out
- Bobby Jean
- Thunder Road