Forty-minutes into Bruce Springsteen and the E Street Band's recent Chicago show, Springsteen began to tell the crowd how he was about to be dropped by his record label after two unsuccessful records back in 1974. Everything was on the line and they knew they had to deliver a tremendous record to stay alive. The album in question turned out to be Born To Run released in the fall of 1975. To this writer's ears it is one of the five greatest albums of the rock era. The personal nature of the songs seep into your pores while the majestic sounds of the E Street Band stir your soul unlike any other record Springsteen would ever record. It's his one truly unanimous masterpiece. Nebraska was close, Born in the U.S.A. may have been more successful, The River more epic and Tunnel of Love and Lucky Town more personal, but Born To Run was instilled with youthful yearning that could never be matched. From its sequencing to the album cover to its production, it's a rarity; a truly larger-than-life and picture perfect work of art. But how would the entire album performed in sequence within the larger scope of a show? Bruce Springsteen and the E Street Band hushed the cynic in me with a tense and telescoping performance of eight of the greatest songs to ever be assembled and sequenced on a circular piece of vinyl.

Performing the album in succession (which took a mere forty-nine minutes), "Thunder Road" was first out of the gate. Ever since 1999, this has been a song that for the most part is a shadow of its former self. Springsteen appears to play it because he feels he has to versus wanting to. The whole set-up of the show hung in the balance of how well the band executed this one song. When Springsteen overpoweringly sung "It's a town full of losers and I'm pulling out of here to win", I knew these songs on this particular night would soar. In none of the band's post-reunion performance did he growl that aforementioned line with resolution like he did in Chicago. It was almost as if he knew there was no way to fake it or make the song merely passable. On this night, everything would have to be taken to that next level. "Tenth Avenue Freeze Out" elicited howls of enthusiasm, while the triple guitar attack opening of "Night" surged. "Backstreets" always finds the band in full form, but unlike other performances of this song where it's used as a moment of resurrection, this evening's performance was part of a finely tuned far-reaching wall of emotions with a vocal full of purposefulness. As each song was performed, the stakes were elevated and the band rose to the occasion matching the songs legacy with fervent zeal. "Born To Run" was redeeming as always. "She's The One" was booming with its Bo Diddley beats and alluring sax solo. The ethereal "Meeting Across the River" sets the mood of steam rising beneath a street light where the shadows come to life. For this performance, the band was joined by Richard Davis on upright bass (who also made an appearance in March of 2008 in Milwaukee) who performed on the track in 1975. Also in attendance was trumpet player Curt Ramm, who also assisted on "Tenth Avenue Freeze Out", but came to the forefront of "Meeting Across the River" for a one of a kind performance that will send most of the United Center crowd back to their Born To Run albums seeking out the most underestimated track on the record. At its conclusion, violinist Soozie Tyrell and Roy Bittan faced off against one another as they commenced one of rock n' roll's greatest epics, "Jungleland". Steve Van Zandt's guitar solo erupted with childish imagination and precision while Charles Giordano's organ swelled as if it was emanating from within a church in Harlem. Then there was Clarence Clemon's saxophone blazed with dreamy elegance. The entire performance built until this moment where the entire band fired on all cylinders offering a rare concert performance full of heightened sentiments bringing the surrealism of the record to the emotional forefront.

It's one thing to see the songs from Born To Run performed live and it's another to see them in progression with building heartrending heights. By performing the album in its entirety allowed the audience in Chicago to revel in more than a celebratory performance but a powerhouse work of art and one of music's optimum and paramount accomplishments. Born To Run infuses one with aspiration. The sonic grandeur and the might of this performance made you feel alive. It stirs emotions, makes you think and puts you into an entirely different mindset. No matter how bad your particular situation may be, these songs make everyone feel as if they will rise above it all.

The rest of the show was more focused on the past rather than the present. Opening the show was "Seeds" featuring Nils Lofgren's buzzing guitar and Soozie Tyrell's delicate touches on the violin. The defiant "No Surrender" and a roadhouse "Johnny 99" followed in quick order. "Cover Me" featured drummer Max Weinberg and bassist Gary Tallent executing rhythms and grooves simultaneously and elevating the song to new heights. This was the song's first performance in Chicago in seventeen years. "Hungry Heart" was smartly placed in-between the only two Working on a Dream songs ("Outlaw Pete" & the title track) and found Springsteen making his way midcourt to the crowd so they too could see him up close and personal. "Heart" proved to be a brilliant place-holder as the two aforementioned songs failed to evoke much of a reaction., yet the crowd was never ever lost because of the smart sequencing. The band also showcased their playfulness in the encores with a poignant cover of "Hard Times" followed by more mischievous covers of "Rockin' Robin" and "Da Doo Ron Ron". If this wasn't enough to cement the crowds fervent bliss, then pulling out the rare "I'm Goin' Down" was. Performed for the first time in nearly a quarter of a century in Chicago, the song hit all the right notes as the near sold-out crowd danced the night away as "American Land", "Dancing in the Dark" and "Rosalita" brought the rousing twenty-nine song set to a sweltering close. For the first time in over a decade, Springsteen is circling his performance around the crowd rather than merely performing to it. At the end of the day, one can't help but be impressed with Springsteen's work ethic which is unheralded; how many new bands perform for nearly three-hours and close to thirty-songs? This doesn't always lend itself to great shows, but it's still admirable. While he's made a career out of being daring and doing things his own way, this is the first tour to see him ignore large portions of his latest record, Working on a Dream in lieu of golden oldies. Is it a nostalgia ride? Yes, but that doesn't make the efficiency of the show any less splendid.

This wasn't the best or most moving show I have ever seen by Bruce Springsteen and the E Street Band, but it was the most captivating and vociferous. Shows like this weren't made for people like me (who revel in minutiae) but I don't think anyone walked away thwarted. The crowd were a dynamic component who stimulated the band to reach new heights. During the entire Chicago performance there was a degree of merriment at this show that has been omitted at times from Springsteen's performances over the last decade. The crowd swung and swayed to the music as if they didn't have a worry in the world. Springsteen has long ignored many of his biggest hits and I will say, it was invigorating to see him fully embrace these songs and prompt everyone in the process. Sometimes rock n' roll is best used as a penicillin that provides an unspeakable cure. I'd love to see some obscure song or even a more thematic show, but all of that falls to the wayside when every single person in attendance is engaged and makes the concert more than just a performance�but a communal experience. And that my friends is magic in the night.