1. Happy Now
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 Going 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. Wanted Dead Or Alive
23. Livin' On A Prayer

Pour ça à Richie, on lui réserve des chansons où il ne faut pas être ds la nuance

Sinon, "on mange chinois ou chez moi ?" :

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Après Hallelujah, Jon se met à singer John Lennon maitenant

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Citation:

Jon Bon Jovi, who turned 48 this month, brought the act that for about three decades has borne his name and relied on his charms to a packed Verizon Center on Monday. Nearly 20,000 folks stood and roared as the New Jersey hair band overlords took the stage to "Happy Now," a tune from the latest CD, "The Circle," and the big screens in the arena flashed positivity buzzwords ("OPTIMISM," "LOVE," "HOPE," etc.) alongside images of positivity people (Oprah, the Dalai Lama, et al). That song, like most of the recent material on the set list - "We Weren't Born to Follow," "Work for the Working Man," and "Superman Tonight" - featured the same mix of anthemic choruses and you-can-do-it! boosts for the downtrodden that Bon Jovi's been cooking up since the early 1980s. (Jersey boys to men, after the jump) The Democratically connected bandleader pledged to not get politically preachy, and said he'd come to Washington this time to just so he could hear "a non-partisan scream." He dug deepest while introducing "Love's the Only Rule," another new tune, as he asked fans to not let fear guide their life choices, and then quoted another of rock's bon Johns (Lennon): "Maybe I'm a dreamer. I dunno," he said. Bon Jovi's never been compared to that or any other Beatle as a lyricist. But his songs, particularly the old hits, nevertheless mean the world to these folks. During the power ballad "I'll Be There for You," a lot of fans in the overwhelmingly female, largely 40-something audience waved their hands over heads, as if soaking in the gospel at a religious service. The strangest moment of the show, and a reminder of the weirdest artistic decision of Bon Jovi's career, came when the singer took a solo stab at Leonard Cohen's "Hallelujah," - or, as most of his fans know it, "That song from 'Shrek.'" Cohen's 1984 work has been covered only slightly less than "Happy Birthday." (Even Cohen himself told a UK reporter last year "I think too many people sing it.") There was nothing obviously wrong with Bon Jovi's somber rendition - think Jeff Buckley's without the high notes or goosebumps - other than his wanting to sing it in the first place. Bon Jovi was later joined on a mini-stage by Richie Sambora (playing a massive doubleneck acoustic guitar without irony), drummer Tico Torres and keyboardist David Bryan for an unplugged take of 1995's "Someday I'll Be Saturday Night." With its collection of bad tattoos, worse hair and cut-off t-shirts, the backing combo looked like the cast of "Jersey Shore" at middle age. The band delivered some of the semi-twangy tunes recorded in recent years while testing the pop country waters, including "Whole Lot of Leavin' Goin' On," and the New Jersey tourism theme, "Who Says You Can't Go Home" (which in 2005 got Bon Jovi accolades as the first rock band to top Billboard's country singles charts). For an encore set, Bon Jovi opened with "Wanted: Dead or Alive," with its two epic lines - "I'm a cowboy, on a steel horse I ride" and "I've seen a million faces, and I've rocked them all!" Around the time Bon Jovi shrieked the latter, Sambora put down the irony-free doubleneck, strapped on a pointier guitar and shredded the most fabulous of the night's many fabulous arena-rock solos. The show ended with a communal version of "Livin' on a Prayer." As simpletonian as the tune looks on paper, when an arena full of folks in stonewashed denim sing together, it becomes as profound as anybody's crack at "Hallelujah." Even Leonard Cohen would approve.

J'avais trouvé aussi que les nouvelles chansons de The Circle faisaient un peu gimmick

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Citation:

"UH-OH, IT'S 1984 AGAIN!" cried Jon Bon Jovi just before launching into "Runaway," the first song in his group's encore at Monday night's packed Verizon Center show. Of course, he didn't really need to make that announcement. The sonic shifts between Bon Jovi's old hits and new material were palpable: the newer songs have a much mellower feel than the glossy edge and angst of the early hits. In many ways, New Jersey's greatest hair band has grown up since the '80s. While the nearly two-and-a-half-hour show obviously included all of those greatest hits, much of the setlist came from more recent albums. But that didn't seem to disrupt the crowd's enjoyment of the concert at all: If you haven't been keeping up with Bon Jovi, the group's last two albums have each hit No. 1 on the Billboard charts, and the audience remained on its feet and sang along to most of the new songs. It was actually refreshing to see an audience embrace an aging group for continuing to write new material — and not just sit down and wait for the next familiar old hit. That said, the newer tunes are less fiery and more cliche-ridden than the old ones, and some of them just felt gimmicky. During the hero-drenched lyrics of "Superman Tonight," video screens behind the band flashed generic quotes from ordinary heroes (e.g., "I gave a complete stranger my kidney" and "I answered the call ... I am a volunteer"). But despite his music shifting to a more mature sound, Jon Bon Jovi still pulls from that mid-'80s heartthrob persona, with his shirt unbuttoned all the way to his navel and chest glistening with sweat. He did his best Mick Jagger struts and poses during the energetic "We Got It Going On," and he conducted the audience in much arm-raising and singing-along all night. And then there was guitarist Richie Sambora, dressed in a sparkling jacket. He certainly hasn't lost his skill, but he also showed no restraint. He threw wailing guitar solos into almost every song, whether they fit in or not; his screeching was particularly out of place on the otherwise soft-rock "Whole Lot of Leavin'." (And that's not even mentioning the self-congratulatory interchange between Bon Jovi and Sambora during that song, where the guitarist responded to Bon Jovi's lyrics, "Do we got it any more?" with a boastful, "Yeah, you got it.") Despite Sambora's encouragement, there were a few moments where Bon Jovi most certainly didn't "got it," most notably during an overwrought cover of Leonard Cohen's "Hallelujah." Even with his group's softer music of late, he still shouldn't be allowed to do a piano ballad, and the song just felt as though he was trying too hard to be earnest. Another misstep: an acoustic quartet with Bon Jovi and Sambora on acoustic guitar, keyboardist David Bryan on accordion and percussionist Tico Torres slapping a big wooden box. The group was trying for a more intimate feel — all four of them stood on an arc-shaped catwalk in front of the main stage — and the harmonies were surprisingly quite good. But it took their mellow vibe a little bit too far, and the crowd got tangibly restless, especially during "Someday I'll Be Saturday Night." But with his boyish good looks and ready smile, it's very easy to forgive Jon Bon Jovi. And the thunderous sing-along on the night's most timeless songs, "Wanted Dead or Alive" and "Livin' on a Prayer," showed no hard feelings for this aging rocker.