Between The Edges: Street Building Transition as Urbanity Interface

When news first emerged in late 1989 that the E Street Band had been dismissed indefinitely by Bruce Springsteen, it began nine years of uncertainty and speculation as to when, if ever, they would join forces again. They did come back together to record new material for Greatest Hits in 1995 and undertook a small series of promotional appearances in support of it, but the fact that they parted ways again without touring only made the odds of a full return feel even longer.

The Tunnel of Love tour again? That’s surely a sentiment some are expressing with this month’s release of New York 5/16/88, the outstanding opening night performance from the final, five-show stand on the US leg of the 1988 tour.

Following the BBC Music Magazine Opera Award for his recording of Malcolm Arnold’s The Dancing Master, conductor John Andrews returns with the world-premiere professional recording of John Frederick Lampe’s operatic comedy The Dragon of Wantley.

As measured by cultural impact and mass popularity, Bruce Springsteen’s 1984-85 World Tour was the apex. Considering its stunning scale, playing multi-night stadium stands, it’s easy to forget that 1984 was a rebirth of sorts, the start of a new era as much as a continuation of what came before it. On the biggest tour of his career, Springsteen was rebuilding the engine while the plane was flying.

We often cite the Reunion tour as a demarcation between the “classic” and “modern” Springsteen eras. Yet this April already marks 23 years since the start of the Reunion tour in Barcelona. Do the math, and the E Street Band’s return in 1999 is inching ever closer to being the midpoint of their overall career—a line to be reached in 2026, at which point it will have been 27 years from the start of Reunion; and Reunion itself was 27 years after the band formed in 1972. Time flies.