1. Blood On Blood
2. We Weren't Born To Follow
3. You Give Love A Bad Name
4. Whole Lot Of Leavin'
5. Born To Be My Baby
6. Lost Highway
7. When We Were Beautiful
8. Superman Tonight
9. We Got It Goin' On
10. Bad Medicine ~ Roadhouse Blues
11. It's My Life
12. Lay Your Hands On Me (Richie Sambora on lead vocals)
13. Hallelujah
14. I'll Be There For You
15. Something For The Pain (acoustic)
16. Someday I'll Be Saturday Night (acoustic)
17. Keep The Faith
18. Work For The Working Man
19. Who Says You Can't Go Home
20. Love's The Only Rule

Encore:
21. Runaway
22. I Love This Town
23. Wanted Dead Or Alive
24. Livin' On A Prayer

Adieu These Days & les 2 1ers albums

Retour aux States et au pilotage automatique...

Encore une vidéo backstage. De la scène, on s'aperçoit que le cercle est vraiment ridicule :



http://www.youtube.com/watch?v=gVraJueMCMM

Puis ces 2 là ont de la chance :

http://www.philly.com/philly/video/

Une review stigmatisant le côté pas hyper innovant de groupe au travers des années

http://www.philly.com/philly/entertainment/music/89014837.html

Citation:

Just like old times, Bon Jovi rocks the Wachovia By Sam Adams FOR THE INQUIRER At the height of his hair metal fame, you'd hardly have pegged Jon Bon Jovi as the type to get nostalgic for simpler times. But age - his, and more to the point, his audience's - has a way of shifting perspective. At the sold-out Wachovia Center last night, the bad-boy anthems of Bon Jovi's youth were outnumbered by recent songs built on inspirational nostrums and blue-collar solidarity. The band plays the venue twice today: a concert tonight, and a late-afternoon show for fans of Jon Bon Jovi's departed arena football team, the Philadelphia Soul. Although the band's latest album, last fall's The Circle, largely bypasses the country dabblings of 2007's Lost Highway, it's clear the band has kept up its research, or at least its set designer has. The show's imagery, both visual and lyrical, drew heavily from Nashville's well of just-folks standbys. During "I Love This Town," the gigantic video screen above the stage broke apart into more than a hundred smaller screens showing fans touting their hometown's virtues, a variation on a staple used by country singer Toby Keith in his live show. The mild rebellion of "We Weren't Born to Follow" was accompanied by a dizzying potpourri of portraits ranging from Desmond Tutu to Princess Di, suggesting criteria so broad as to render iconoclasm almost meaningless. Like most of Bon Jovi's songs (only with more unintended irony), "We Weren't Born to Follow" is composed of a string of well-worn phrases strung together like fragments from a magnetic poetry kit. "Come on and get up off your knees," he sang. "When life is a bitter pill to swallow, you got to hold onto what you believe." It's hard to imagine a less revolutionary call to arms. Lyrically inventive he may not be, but Jon Bon Jovi believes every familiar word. At their best, the band's metallic anthems - a group of songs that hasn't changed much in the last two decades - have an effect that's practically Pavlovian, provoking at least a small thrill in all but the most sour-faced listener - not that there were any skeptics in the room. Rather than impatiently waiting for the old hits, the nearly 20,000 fans followed the band through material old and new; their mouths rarely stopped moving, and their seats were rarely occupied. "Uh-oh," Bon Jovi said by way of introducing "Runaway." "It's 1984 again!" It could have been any year between now and then, and the show would have been fundamentally the same.

http://citypaper.net/blogs/criticalmass/2010/03/25/concert-review-bon-jovi-and-dashboard-confessional/

Citation:

CONCERT REVIEW: Bon Jovi and Dashboard Confessional categories | Concert Review, Music Thursday, March 25th, 2010 at 8:30 am posted by Mandy Bee In July of 2002, I had a moment that changed by teenaged life: sitting in the 11th row of the Tweeter Center as I awaited the entrance of Weezer, I caught a drumstick thrown by the opening band. They were called Dashboard Confessional, and their bleeding hearts and screaming infidelities encrypted themselves forever in the pages of my young life. Eight years later, after an extensive hiatus from Dashboard’s dialogue, I found myself sitting in the sixth row of the Wachovia Center, waiting for Carraba and the boys to open for Bon Jovi. Carraba seemed about the same as he took the stage: a trollish-looking guy with dark jeans and tight fitted t-shirt. His hair is in a pompadour that would make Morrissey proud. Dashboard played a sparse six song set leaving some people sour, including my best friend Sarah (who was overjoyed at the prospect of seeing her favorite band from a press seat) and a middle-aged gym-o-holic sitting next to me. But that was about it. Throughout the show an uninterested crowd chatted and checked their watches, save for Dashboard’s cover of Bryan Adams‘ “Summer of ‘69.” The defining spot of the set was Spiderman 2’s power anthem, “Vindicated.” Carraba’s face was red as Spidey’s as he bellowed, quite possibly to ensure himself, “I am right / I swear I’m right / I swear I knew it all along.” It was then, as he scrounged for his own last fleeting attempts at self-respect, that I realized that I had grown up, but Carraba and Dashboard Confessional had not. Bon Jovi took the stage to the rumble of applause. To me, he’s Springsteen’s less talented, less cool, less rock’n'roll stepbrother, but I can’t begrudge the audience’s admiration, not to mention the band’s 3-hour set. [More...] They opened with “We Weren’t Born to Follow,” the first track from their latest, The Circle. As it played, I started to feel uneasy. Images of Jon in Obama Hope-style flashed behind the band, as well as pictures of moving circles and bizarre sayings like “Unity is all.” The crowd ate it up, hands in the air. It was going to be a long night. The recent single transitioned well into an old favorite: “You Give Love a Bad Name.” It’s hard not to dance to this song, especially with Muscle McGee aside me, singing passionately and attempting to twirl me. The middle of the set got downright sentimental as Jon got close to the mic for a cover of Leonard Cohen’s “Hallelujah.” Singing a song that lends itself to cover-age, Jon excellently brought his signature rough vocals to it. I sang along, enjoying a calm break from the frenzied show; the crowd waved their cell phones in the air. I gotta give it to the boys: if Dashboard’s set was tiny and lackluster, Bon Jovi’s certainly made up for it. They trucked through songs from various albums, threw in covers (“Roadhouse Blues”), and generally looked like they were having fun. Still I felt pangs of guilt sitting there. A true Bon Jovi would have loved this show. As the encore opened with the beloved “Runaway,” I thought of my mom standing in our kitchen, wiggling her hips as she sang these very lyrics. Next came “I Love This Town,” played with an almost naughty affection, followed by “Wanted (Dead or Alive)” brought out all my Rock Band gusto. As “Living On a Prayer” crashed its way on stage, the Wachovia Center erupted. My tipsy best friend and our muscled friend excitedly screamed the chorus into each other’s faces.

Le moins que l'on puisse dire c'est que le journaliste n'est pas fan...........mais il pourrait éviter de faire des comparaisons à la con au moins à moins que je n'ai compris à l'envers ? (si si ça m'arrive parfois !)

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