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• June 13, 1985 Setlist

Bruce Springsteen Setlist at Feijenoord Stadion, Rotterdam, Netherlands

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Tour: Born in the U.S.A. Tour statistics Add setlist

• Born in the U.S.A. Play Video
• Badlands Play Video
• Out in the Street Play Video
• Johnny 99 Play Video
• Darkness on the Edge of Town Play Video
• Shut Out the Light Play Video
• The River Play Video
• Working on the Highway Play Video
• Trapped ( Jimmy Cliff  cover) Play Video
• Prove It All Night Play Video
• Glory Days Play Video
• The Promised Land Play Video
• My Hometown Play Video
• Thunder Road Play Video
• Cover Me Play Video
• Dancing in the Dark Play Video
• Hungry Heart Play Video
• Cadillac Ranch Play Video
• I'm on Fire Play Video
• Because the Night ( Patti Smith Group  cover) Play Video
• Backstreets Play Video
• Rosalita (Come Out Tonight) Play Video
• Can't Help Falling in Love ( Elvis Presley  cover) Play Video
• Born to Run Play Video
• Bobby Jean Play Video
• Ramrod Play Video
• Sherry Darling Play Video
• Twist and Shout ( The Top Notes  cover) Play Video
• Do You Love Me? ( The Contours  cover) Play Video

Edits and Comments

19 activities (last edit by dirkvandamme , 9 Sep 2018, 08:37 Etc/UTC )

Songs on Albums

• Born in the U.S.A.
• Dancing in the Dark
• I'm on Fire
• My Hometown
• Working on the Highway
• Cadillac Ranch
• Hungry Heart
• Out in the Street
• Sherry Darling
• Because the Night by Patti Smith Group
• Can't Help Falling in Love by Elvis Presley
• Do You Love Me? by The Contours
• Trapped by Jimmy Cliff
• Twist and Shout by The Top Notes
• Darkness on the Edge of Town
• Prove It All Night
• The Promised Land
• Backstreets
• Born to Run
• Thunder Road
• Rosalita (Come Out Tonight)
• Shut Out the Light

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Bruce springsteen gig timeline.

• Jun 09 1985 Ullevi Stadium Gothenburg, Sweden Add time Add time
• Jun 12 1985 Feijenoord Stadion Rotterdam, Netherlands Add time Add time
• Jun 13 1985 Feijenoord Stadion This Setlist Rotterdam, Netherlands Add time Add time
• Jun 15 1985 Waldstadion Frankfurt, Germany Add time Add time
• Jun 18 1985 Olympiastadion Munich, Germany Add time Add time

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American Anthem

What does 'born in the u.s.a.' really mean.

Steve Inskeep

Vince Pearson

Barry Gordemer

Bruce Springsteen onstage during the Born in the U.S.A. Tour in 1984. Shinko Music/Getty Images hide caption

Bruce Springsteen onstage during the Born in the U.S.A. Tour in 1984.

This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at NPR.org/Anthem .

If you're listening closely, the lyrics of " Born in the U.S.A. " make its subject pretty clear: The 1984 hit by Bruce Springsteen describes a Vietnam War veteran who returns home to desperate circumstances and few options. Listen only to its surging refrain, though, and you could mistake it for an uncomplicated celebration of patriotism. You wouldn't be the only one.

NPR's American Anthem series is about songs that Americans embrace in ways that reveal who we are — and of these songs, "Born in the U.S.A." may hold the title for the most historically misunderstood. But as NPR Music director Lauren Onkey explained to Morning Edition, it took time for Springsteen himself to figure out just what the song was meant to say.

"He did a big benefit in the summer of '81 for Vietnam veterans in Los Angeles and met with vets," Onkey says. "After that tour ends, there's a number of places where he's trying to write about the Vietnam veteran experience, so the song grows out of that moment. And it starts out as something just called 'Vietnam.' "

That early attempt at the concept survives as a rough demo . In "Vietnam," a veteran arrives home and tries to get back his old job, but the administrator who greets him can only shrug:

"Son, understand, if it was up to me ... 'Bout half the town's out of work Ain't nothin' for you here From the assembly line to the front line But I guess you didn't hear: You died in Vietnam."

The songwriter kept that scene as he set about writing a more haunting, but still muted version — which is where he first added the "Born in the U.S.A." refrain. In its story of one American, Onkey says, she hears the story of many.

"He says, 'I'm 10 years burning down the road / Nowhere to run, ain't got nowhere to go.' Those lines, I think, describe so many of Springsteen's male characters — who are lost, who can't find a home. The systems around them of jobs and connection are unattainable."

But it still wasn't the song we know. In the version that became the title track on his 1984 smash album, Springsteen made one more change: turning up the volume and shouting out the lyrics almost as if for joy. Rarely has a man with nowhere to go sounded so triumphant.

As the musician later told WHYY's Fresh Air, he meant it that way. "The pride was in the chorus," Springsteen said to host Terry Gross in a 2005 interview . "In my songs, the spiritual part, the hope part, is in the choruses. The blues and your daily realities are in the details of the verses."

Springsteen fans will tell you the effect that big chorus had on crowds, whether or not the message of the verses was entirely understood. Take Chris Christie — yes, that one — who saw Springsteen at New Jersey's Giants Stadium decades before he became governor of that state.

"Bruce started every show with a really rousing, anthemic-type version of 'Born in the U.S.A.,' " Christie recalls. "With a bandanna on and a cutoff shirt and the fist-pumping, it felt like a celebration of being born in the USA — when really, it's a defiant song about 'I was born in the USA, and I deserve better than what I'm getting.' I think plenty of people didn't get what it was about, including the president of the United States."

That would be President Ronald Reagan, who referenced The Boss in a 1984 campaign speech , saying: "America's future rests in a thousand dreams inside your hearts. It rests in the message of hope in songs of a man so many young Americans admire, New Jersey's own Bruce Springsteen. And helping you make those dreams come true is what this job of mine is all about."

By playing on the hope, Reagan seemed to overlook the despair. He may have been influenced by a sometime adviser: The columnist George F. Will, noted for his bow ties and conservative politics, tells NPR he saw Springsteen in concert that year.

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"Max Weinberg, of whom I'd never heard, who was the drummer for the E Street Band, of which I'd never heard, called me up out of the blue and said who he worked for and would I like to come see The Boss sing," Will says. "I thought, 'This is a way to impress my children,' and I said yes."

After the show, Will penned a column praising the hardworking musicians onstage, albeit in political terms. "If all Americans — in labor and management, who make steel or cars or shoes or textiles — made their products with as much energy and confidence as Springsteen and his merry band make music, there would be no need for Congress to be thinking about protectionism," he wrote.

Springsteen's politics leaned well left of Reagan's. After the president praised him, the artist mused that if people misunderstood his music, that was fine — it only made him more popular.

"After it came out, I read all over the place that nobody knew what it was about," he said before performing "Born in the U.S.A" to a crowd in 1995. "I'm sure that everybody here tonight understood it. If not — if there were any misunderstandings out there — my mother thanks you, my father thanks you and my children thank you, because I've learned that that's where the money is."

After the applause and laughter died down, he added: "But the songwriter always gets another shot to get it right."

Over the years, Springsteen himself has been willing to tweak the song's meaning. Christie heard him play an acoustic version in the 1990s.

"Much different feeling, much different sound," Christie says. "I can remember, at the show I went to see at the State Theatre in New Brunswick, N.J., a couple of people started to try to sing with him. And he stopped in midsong and said, 'I can handle this myself.' "

At other times, Springsteen dropped the upbeat chorus — singing only the verses, forcing his audience to hear the dark story of the veteran. When the U.S. invasion of Iraq loomed in 2003, he told his audience the song was a prayer for peace.

Onkey says the complexity of "Born in the U.S.A." is why it endures: "It describes the ambiguities and challenges of the country that I have grown up in. And for me, it's a rock-and-roll anthem: This singer, this scream, the sound of the guitar and the scale of the song suggest that rock and roll is big enough and important enough to tell that story."

Maybe the meaning of "Born in the U.S.A." is the distance between the grim verses and the joyous chorus. It's the space between frustrating facts and fierce pride — the demand to push American reality a bit closer to our ideals.

Daoud Tyler-Ameen contributed to the digital version of this story.

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The original Eras tour: how Bruce Springsteen’s Born in the USA conquered the world

At 11pm on October 2 1985, at the end of a four-night stand at the Los Angeles Memorial Coliseum, Bruce Springsteen called time on one of the most profitable rock tours of the decade. Spanning 15-months, 156 concerts and 14 countries, the 15-month Born in the USA. tour played to more than 5.3 million people in arenas and stadiums in which not a single ticket went unsold. With a combined gross of $80 million – or 250 million quid when adjusted for inflation – this most profitable of travelling circuses was the Eras tour of its time.

As distinct from Taylor Swift, though, the 36-year old son of New Jersey was not a natural pop star. Rather, he was a rocker. Even with his colour setting dialled up to the max, he seemed at odds with the shiny materialism of the Eighties. Backed by the all-conquering E Street Band, onstage in LA, Springsteen spoke on behalf of aid organisations working for the unemployed and of the perils of governmental monkey business in Central America. Some of his biggest hits were deeply weird. “At night, I wake up with the sheets soaking wet and a freight train running through the middle of my head,” he sang on I’m On Fire, one of the many singles harvested from the album Born in the USA.

Today sees the LP re-released as a special red-vinyl edition in a gatefold sleeve with a booklet featuring archive material and new sleeve notes.

Just as they do now, back in 1985, the patrons on Main Street regarded Bruce Springsteen as their representative in song. “The Boss means America,” a ticketholder at the Coliseum told the Los Angeles Times. “He represents not the rich or the beautiful, not [LA] or New York, but the other people, the common people, the people in-between. When he sings, he sings about love, America and working. When he’s onstage, he’s there for everybody, even the people in the back row. He doesn’t condescend. I’m a bartender, and he’s the kind of guy that you can sit down with and have a beer.”

On the face of it, Born in the USA represented a notable change from the album that preceded it. Unveiled in 1982, the acoustic sparseness of Nebraska (essentially a two-track demo recorded in a single day) featured a cast of characters diminished to the point where violence was only ever a heartbeat away.

They were defiant, too, for all it was worth. “At the end of every hard-earned day people find some reason to believe,” Springsteen sang of a man looking down at a dead dog “like if he stood there long enough that dog’d get up and run”. Believe all you want, he seemed to be saying, but you’re wasting your time.

Born in the USA, meanwhile, offered the possibility of hope. “I’ll shake the world off my shoulders,” promised the narrator of the blockbusting leadoff single Dancing In The Dark. Getting into the swing of the age, the track was accompanied by a music video aired on MTV with the kind of ubiquity normally reserved for Madonna. Directed by Brian De Palma, the concert clip ends, famously, with Springsteen cutting a rug onstage with a young Courtney Cox. As if confirming its mainstream credentials, Alfonso Ribeiro later revealed that Cox’s moves provided the inspiration for “The Carlton” dance beloved of his character in The Fresh Prince Of Bel-Air.

The starting point for it all, though, was a long way removed from Hollywood film directors and canned-laughter sitcoms. In 1981, while Bruce Springsteen was pulling together the material for Nebraska, he penned a further seven songs that would form the spine of its high profile successor. Listeners who may have been duped by the pop-star music videos or the brightly coloured Annie Leibovitz photo on the album’s front cover might care to note that at least one of these compositions would confirm that the differences between the two LPs were presentational rather than substantive. What’s more, this meaningful distinction would cause no end of grief.

With his feet up on the coffee table at his home in Colts Neck, New Jersey, the process began with Springsteen pondering a work-in-progress inspired in part by a script sent to him by the writer Paul Schrader. Picking out chords on his sunburst Gibson J200 acoustic guitar, he then turned his head towards a few scribbled lines in a notebook about the plight of veterans returned from the war in Vietnam. The title was taken from the screenplay at his side. It was called Born in the USA.

As he would later write in his autobiography, Born To Run, from 2016, “Born in the USA remains one of my greatest and most misunderstood pieces of music. The combination of its ‘down’ blues verses and its ‘up’ declarative choruses, its demand for the right of a ‘critical’ patriotic voice along with pride of birth, was too seemingly conflicting (or just a bother!) for some of its more carefree, less discerning listeners… Records are often auditory Rorschach tests; we hear what we want to hear.”

It’s worth considering, I think, how this most iconic of tracks might have been received had it appeared in downtrodden form on Nebraska. In fact, I would say it seems all but obvious that its story of a beleaguered serviceman who can’t catch a break back home in the States, or the brother who lost his mind at the Battle of Khe Sahn, would have been right at home there.

Backed by the E Street Band in pummelling form, however, the song became a case study in just how easily songs with readily discernible lyrics can be misconstrued. The trade magazine Cash Box described it as being a “straight-ahead anthem that celebrates America’s traditional values”, for example, while Libertarian columnist George Will wrote “I have not got a clue about Springsteen’s politics” – wow, no kidding – but that Born In The USA’s chorus was “a grand, cheerful affirmation”. Will even suggested to Ronald Reagan’s handlers that The Boss might fancy endorsing their candidate in his campaign for re-election as president in the general election of 1984. The approach was duly rebuffed.

Nice try. But as Greil Marcus wrote in a review for the magazine Artforum, the song is about nothing less than “the refusal of the country to treat Vietnam veterans as something more than non-union workers in an enterprise conducted off the books. It is about the debt the country owes to those who suffered the violation of the principles on which [it] was founded, and by which it has justified itself ever since. In other words, the song links Vietnam veterans to the Vietnamese – or rather (because… Springsteen personalises everything he touches) one veteran tries to make that link.”

All of which is pretty heavy fare for a record that has since become the 20 th bestselling album of all time. After debuting on the American Billboard Hot 200 at a somewhat pallid number nine, Bruce Springsteen’s seventh LP rose to the top of the chart two weeks later. A residency in the top-10 lasting an astounding 84 weeks made it the highest selling album of 1985. Across the Atlantic, after arriving on the chart at number two, The Boss at last reached the summit of the British listings eight months later.

In a marketing strategy pioneered by Michael Jackson’s Thriller , the album’s momentum was sustained by a steady drip-feed of singles and attendant music videos. In releasing a whopping seven stand-alone tracks – along with Dancing In The Dark and I’m On Fire, there came the title track, My Hometown, Glory Days, I’m Goin’ Down and Cover Me – Columbia Records evidently disagreed with the assessment of their signatory and his manager, Jon Landau, that the LP should spawn no more than two singles. The suits called it right. Each of the seven songs found their way into the US top 10.

“Bruce Springsteen has enlarged his onetime cult following to immense proportions,” wrote Philip Elwood in a piece for the San Francisco Examiner published in the autumn of 1984. “[Concert promoter] Bill Graham… told [me] this week that he ‘offered Springsteen’s people six sold-out nights’ in the Bay Area, something he had never done before.” Instead, 150,000 people applied for the 27,000 tickets available for a pair of dates at the Oakland Coliseum Arena. When the Born In The U.S.A Tour wended its way back to Northern California, in September the following year, The Boss performed for more than 100,000 ticketholders over two nights at the Oakland-Alameda County Coliseum stadium right next door.

It really didn’t get much bigger than this. Certainly, when the representatives from the Garden State visited Europe in the summer of 1985, it was to play, and to fill, the continent’s largest venues. Around this time, many were the people who regarded a three-night stand at Wembley Stadium – not to mention dates at Roundhay Park, in Leeds, and Newcastle’s St James’s Park – as evidence of overnight success. Not so. Four years earlier, at Wembley Arena, Bruce Springsteen and his group had wowed 84,000 people over seven nights on the tour in support of The River LP. The only difference being, that crowd had been drummed out of the woodwork by an album rather than its singles.

In other words, this was no fleeting dalliance. Four years later, in his review of the tour, the critic Richard Williams noted how “on Wednesday evening, in the vastness of Wembley Stadium, [Springsteen] chose a rare moment of calm towards the end of his three-hour concert to remind his 72,000 listeners of the importance he attaches to that historic relationship [with London]. It was one of several signs that, despite his new status as the tabloid newspapers’ favourite pop sensation, he continues to respond primarily to the whisper of his conscience.”

In time – in fact, rather quickly – these whispers would lead Bruce Springsteen away from the blinding light of pop stardom. He’d remain a megastar, of course, but he’d had his fun. On the US leg of tour in support of the Tunnel Of Love album, from 1988, he played in arenas on dates that were sometimes announced at only a few days’ notice. After breaking up the E Street Band – the old gang reunited in 1999 – he even went so far as to ponder his status as “a rich man in a poor man’s shirt”. Thing was, though, the authenticity of it all couldn’t be denied, not even by him. At no point in the last 40 years has he ever issued a song that sounds as if it was written by a millionaire.

It’s quite the trick, really, considering the extent of his fortune. At the end of his Born in the U.S.A. tour, for the first time in his life, Springsteen met with his accountant. “I would shake the hand of a Mr Gerald Breslauer,” he writes in his memoir, “who would tell me that I had earned a figure that at the time seemed so outrageous that I had to ban it from thought… I couldn’t contextualise it in any meaningful way. So I didn’t. My first luxury as a successful rock icon would be the luxury not to think about, to downright ignore, my luxuries. [It] worked for me.”

The 40 th anniversary edition of Born In The U.S.A. is available now

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Born In The U.S.A. Tour

• Edit source

The  Born in the U.S.A. Tour  was the supporting concert tour of  Bruce Springsteen 's  Born in the U.S.A.  album. It was his longest and most successful tour to date. It featured a physically transformed Springsteen; after two years of bodybuilding, the singer had bulked up considerably. The tour was the first since the 1974 portions of the  Born to Run tours without guitarist  Steven Van Zandt , who decided to go solo after recording the album with the grop. Van Zandt, who was replaced by  Nils Lofgren , would appear a few times throughout the tour and in some of the music videos to promote the album. It was also the first tour to feature Springsteen's future wife,  Patti Scialfa .

The tour started in June 1984 and went through the United States and to Canada. In March 1985 the tour went to Australia, Japan and Europe. It then headed back for a second leg of the U.S. tour in which Springsteen and the  E Street Band  played to sold-out professional football stadiums. The tour finished in October 1985 in Los Angeles.

The tour grossed $80–90 million overall. Of that, $34 million came from Springsteen's summer 1985 stadium dates in North America. [1]  The  Born in the U.S.A.  album was inside the top 10 of the  Billboard  200 during the entire tour. Springsteen also was enjoying a hit single from the album (there were seven in total) during any moment of the tour. The album along with Springsteen's previous album,  Nebraska , which he did not tour to promote, were performed in their entirety throughout the tour. Total attendance was 3.9 million.

• 1.1 Special guests
• 2 Broadcasts and Recordings
• 3 Postponed dates

Personnel [ ]

• Bruce Springsteen  – lead vocals, guitars, harmonica
• Clarence Clemons  – saxophone, congas, percussion, background vocals
• Garry Tallent  – bass guitar
• Danny Federici  – organ, glockenspiel, piano, synthesizer
• Roy Bittan  – piano, synthesizer, background vocals
• Max Weinberg  – drums
• Nils Lofgren  – guitars, background vocals
• Patti Scialfa  – background vocals, synthesizer, tambourine

Special guests [ ]

• Courteney Cox (6/29/84 – danced with Springsteen on " Dancing in the Dark " which was captured in the music video)
• J.T. Bowan (8/9/84)
• John Entwistle (8/11/84)
• Southside Johnny (8/12/84)
• Steven Van Zandt  (8/20/84, 12/14/84, 12/16/84, 12/17/84, 7/3/85, 7/4/85, 7/6/85, 7/7/85, 8/22/85)
• The Miami Horns  (8/19/84, 8/20/84, 9/14/84)
• Pamela Springsteen (10/22/84 – danced with Bruce on "Dancing in the Dark")
• Gary U.S. Bonds (1/18/85)
• Robbin Thompson (1/18/85)
• Eric Clapton (6/1/85)
• Pete Townshend (6/1/85)
• Jon Landau  (9/29/85, 10/2/85)
• Julianne Philips (10/2/85 – danced with Bruce on "Dancing in the Dark")

Broadcasts and Recordings [ ]

Nearly half of  Live/1975-85  consists of songs from the Born in the U.S.A. Tour, incorporating songs from the August 6, August 19, and August 20 shows in 1984, and the August 19, August 21, and September 30 shows in 1985.

Several shows have been released as part of the Bruce Springsteen Archives:

• Brendan Byrne Arena, New Jersey 1984 , released May 13, 2015
• Brendan Byrne Arena, August 20, 1984 , released March 2, 2018
• Los Angeles Memorial Coliseum, Sept 27, 1985 , released April 5, 2019
• Brendan Byrne Arena, August 6, 1984 , released September 18, 2020
• Giants Stadium, August 22, 1985 released July 23, 2021

Postponed dates [ ]

• 1 Born In The U.S.A. Tour
• 2 Cindy Mizelle
• 3 E Street Band