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1. Happy Now
2. We Weren't Born To Follow
3. You Give Love A Bad Name
4. Born To Be My Baby
5. Whole Lot Of Leavin'
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 (RS)
13. Open All Night (Bounce)
14. I'll Be There For You
15. Something For The Pain
16. Keep The Faith
17. Work For The Working Man
18. Who Says You Can't Go Home
19. Someday I'll Be Saturday Night

Encore
20. Wanted Dead Or Alive
21. Livin' On A Prayer

[Vous devez être inscrit et connecté pour voir cette image][Vous devez être inscrit et connecté pour voir ce lien] border="0" alt="" /> Mike. Très bonne question.........avec un peu de chance la réponse en vidéo sur youtube [Vous devez être inscrit et connecté pour voir cette image]

Ah ben non, c'est le Open All Night de Bounce à priori pour aller en harmonie avec la session "love"

Bonjour,

Je constate que les québécois nous avons eu de la chance d'avoir 29 chansons à chaque soir.

Je trouve que 21 chansons ce n'est pas beaucoup à comparer avec d'autres spectacles parce que en moyenne c'est 23 et 24 chansons.


Rosy

Rosy, le public y fait pour beaucoup
Vous étiez en furie comparé à un public américain. Rappelle-toi les Oh Oh Oh pour le rappel lors du 1er concert

Sinon 2 reviews du concert de Tulsa. Que Jon bouge comme Mick Jagger et ait une voix comme à 30 ans, je doute

Avec des photos ds le bas :

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Citation:

Bon Jovi Tour: The Circle Support Acts: Dashboard Confessional Date: April 13th, 2010 Venue: BOK Center, Tulsa, OK [Vous devez être inscrit et connecté pour voir cette image] Going into the show Tuesday night I wasn’t sure what to expect. I had watched a lot of live footage of past shows/tours and read a lot of reviews and things were pretty mixed. By the time Bon Jovi took the stage around 8:30 however, they quickly silenced any doubts one might have had by running through a hit-packed 2 hour set, bringing everything they had to Tulsa for the first time in over 20 years. The show was heavy on the old “standard” hits but also mixed in several cuts from the group’s last two albums, Lost Highway and The Circle. The night seemed to go very quickly, but the group played a respectable 21 tracks. Things got off to a great start with a dose of two tracks from The Circle, “Happy Now” and “We Weren’t Born To Follow.” The latter track is fairly politically loaded and it was good to see that the group didn’t abandon their liberal viewpoint just because they were in the middle of the bible belt. They followed up the two new tracks with “You Give Love A Bad Name,” inspiring the full-capacity (17,000) crowd to stand up and shout along. I wasn’t sure what to expect from the old hits, but I’m glad to report that Bon Jovi has managed to make things sound fresh while still retaining what fans love so much about the songs. The best track of the evening was a phenomenal 10-minute version of “Bad Medicine” from 1988’s New Jersey. Fans who didn’t know the lyrics were quickly schooled in the ways of the 80s, and the band sounded better than anyone could want. They also incorporated a few verses of The Doors’ signature track “Roadhouse Blues,” which fired up the crowd even more. Jon Bon Jovi and Richie Sambora sounded great harmonizing and the two really played up the track to the crowd. One thing is for sure — after touring together for over two decades, Bon Jovi has mastered the art of crowd interaction. Other highlights of the night included a blistering version of Lost Highway’s “We Got It Going On.” I had dismissed the track after hearing on the album a few years back, but it really impressed me tonight and had the crowd going nuts. Jon let Mr. Sambora take over on the mic for a great version of “Lay Your Hands On Me” which once again had the crowd going crazy. Sambora provides a great harmony for Jon to play off of, but he also sounds fantastic by himself. It was cool to see Jon give away the main spotlight for a bit and Richie loved the response from the crowd. The band also performed an acoustic version of “Something For The Pain” from 1995’s These Days, moving from the main stage to the circular walkway on the arena floor. Keyboardist Dave Bryan switched to the accordion, drummer Tico Torres picked up the shaker and the band were visibly having a great time with the fans on the floor. It was a cool performance and even though I wasn’t very familiar with the song I found myself singing along by the time the second round of the chorus hit. The show ended with an encore of “Wanted Dead or Alive” and “Livin’ On A Prayer,” two tracks that everyone in the arena had been waiting for all night. Jon traded off lines in “Prayer” with the concert-goers, and he was visibly excited to play the track. It sounded just like you’d expect it to, and the fans were just eating it up. The only complaint I have? Opening act Dashboard Confessional was a weird choice, and their set was plagued by sound problems. While I’m not a fan of the group, I did enjoy their cover of Bryan Adams’ “Summer of ‘69,” but for the most part you couldn’t discern vocalist Chris Carrabba from the band. It sounded muddied and waaaay too bass heavy which was a shame because I think a lot of younger concert goers were looking forward to the group. Still though, I can’t figure out why Bon Jovi picked the group to open some shows… it just doesn’t mesh well with the 80s rock crowd. Overall however the show was great. People discredit Bon Jovi’s music but I had a great time, and you’d be hard pressed to find anyone in the 17,000+ crowd that didn’t enjoy themselves. There’s a reason the band has been around for over two decades, and if they keep putting on shows like the one last night, I don’t see any reason for them to stop anytime soon. Definitely check out this tour if you get a chance. Setlist: Happy Now, We Weren’t Born To Follow, You Give Love A Bad Name, Born To Be My Baby, Whole Lot Of Leaving, Lost Highway, When We Were Beautiful, Superman Tonight, We Got It Going On, Bad Medicine (with Roadhouse Blues), It’s My Life, Lay Your Hands On Me (Richie Sambora on vocals), Open All Night, I’ll Be There For You, Something For The Pain (Acoustic), Keep The Faith, Work For the Working Man, Who Says You Can’t Go Home, Someday I’ll Be Saturday Night, Encore: Wanted Dead Or Alive, Livin’ On A Prayer

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Citation:

By JENNIFER CHANCELLOR World Scene Writer Published: 4/13/2010 11:11 PM Last Modified: 4/13/2010 11:11 PM Bon Jovi kick-started its set Tuesday night with an inspirational and perhaps too-literal video montage of the rock act’s tour and new album, “The Circle,” with a large circle of words that morphed into, well, a huge circle. “So, what y’all been up to for the last 20 years?” lead singer Jon Bon Jovi asked the audience, referencing how long it’s been since his band last performed in Tulsa. He then launched into “When We Were Beautiful,” and his eyes looked misty as cameras projected his face onto a huge screen behind him and drums rumbled the BOK Center arena. The high-definition video imagery on “We Weren’t Born to Follow” was a visual dedication to liberal icons and all-American heroes, including Bob Dylan, firefighters and athletes. But the tone soon shifted from political to party. Jon Bon Jovi worked his larger than life antics and Mick Jagger-dance moves, hands open and fingers splayed. He didn’t need to prompt the audience when “You Give Love A Bad Name” launched to squeals and claps. The audience knew every word. “Born to Be My Baby” wooed a crowd that wouldn’t sit down as Richie Sambora’s guitar segued into “Lost Highway.” “Superman Tonight” flew into “We Got it Goin’ On” as Jon Bon Jovi yelled, “I’m just now getting started!” and rolled into one of the band’s signature tunes, “Bad Medicine,” followed by “Roadhouse Blues” and “It’s My Life.” Sambora then took over lead vocals for “Lay Your Hands on Me.” More than 20 songs filled the two-plus hour set. These older white men are toned, talented and musically attuned. But they don’t dance as well as they used to. Not that anyone seemed to really notice, unless, possibly, they were big fans of musical dance productions like “Hair” or “West Side Story.” Frontman Jon Bon Jovi, 48, easily could pass for 30 in every sense, especially vocally. He still has his full range. Three behemoth video screens reflected the crowd back to itself as it cheered and screamed, then split into several dozen smaller screens that flashed scenes of cultural icons, including Martin Luther King Jr., John F. Kennedy and even President Barack Obama. The band performed a handful of rarely performed tunes, including “Open All Night” and “Something for the Pain.” Other hits included “I’ll Be There for You,” “Work for the Working Man” and “Who Says You Can’t Go Home.” The concert’s set list was an intelligent mix of tried-and-true and brand new. The newest album, “The Circle,” is a somewhat contrived return to the band’s blue-collar rock beginnings. So was the tour. After nearly 30 years together, it’s hard not to come across that way. These days, the group sings about politics and individuality more than day-long diner shifts, but Jon Bon Jovi and his bandmates are still the genre’s golden boys. And that’s OK. The hi-definition video screens screamed modernity. The band may be a long way from its humble beginnings, but it’s stayed true to its original path. They’ve learned a lot about showmanship over the years and still sell out huge arena venues across the globe. The guys have worked their way up the ranks and now own their own pop culture company, so to speak. Opening act Dashboard Confessional brought its skinny-boy indie rock doused in melodramatic, theatrical vocals. It was valiant but doomed — the audio quality was sub-par, muddy and distorted, though “Valiant,” “Hands Down” and its version of Bryan Adams’ “Summer of ’69” were spot-on, both lyrically and musically. The sound quality just wasn’t there.

Vous n'êtes pas contre un nouveau petit tour en backstage. A Tulsa cette fois-ci :

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Dommage que ce n'était pas These Arms Are Open All Night la chanson citée par mikesamborey.
Elle remplace Surement Hallelujah
Merci pour ce petit tour dans le Backstage.