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 (Lorenza Ponce)
7. When We Were Beautiful
8. Superman Tonight
9. We Got It Goin' On
10. Bad Medicine ~ Roadhouse Blues ~ Shout
11. It’s my Life
12. Lay Your Hands on Me (Richie vox)
13. Hallelluja
14. I'll be There For You
15. Something for the Pain
16. Someday I'll be Saturday Night
17. Keep the Faith
18. Work for the Working Man
19. Who Says You Can't go Home (Lorenza Ponce)
20. Love's the Only Rule

21. Runaway
22. Wanted Dead or Alive
23. Living on a Prayer

Pas folichon finalement....

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Je me permets de créer le topic
Parce que Dave a fait une interview ds laquelle il n'exclut pas les surprises pour ce soir niveau guests entrant en scène

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Bon Jovi hits town tonight Their 2007 album Lost Highway flirted with Nashville sounds, but Bon Jovi — who play Bridgestone Arena tonight — decided to return to the anthemic hard rock of hits such as "Livin' on a Prayer" on their new album. Still, keyboardist David Bryan doesn't see The Circle as a throwback, but a brand-new chapter. "The circle, for us, it's not coming back to anywhere," he says. "It keeps going on and on. It's the endless road of getting better at your craft, doing as well as you can and having fun with it. For us it's more of a continuum." As Bryan points out, the band's still finding new frontiers as they enter their 27th year. In addition to cracking the country music world, they performed at the Grammys for the first time this year, performing "Who Says You Can't Go Home" and "Livin' On a Prayer" with Sugarland's Jennifer Nettles. Bryan says playing "Prayer" is still a thrill. "You know what? I love it. I love starting that song, and everybody goes crazy. You never get tired of it." As for the possibility of a Music City star joining the band on stage tonight, Bryan says that hasn't been confirmed. "One never knows about the surprises. We don't know yet, but potentially." Tonight's show, with opener Dashboard Confessional, starts at 7:30. Tickets are $29.50-$129.50.

On va guetter ça avec impatience alors [Vous devez être inscrit et connecté pour voir cette image]

Si c'est moi qui poste la set list demain, je rééditerai ton post [Vous devez être inscrit et connecté pour voir cette image]

Obie annonce le retour de Lorenza pour ce soir

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Q: Hi Obie? Did you play drums during Jon's performance at the 1997 Music Awards in India? As far as I can remember you've played "Queen of New Orleans" and "Wanted". Good job and it differs from the versions of Tico or Kenny Aronoff!!! It's cool that Lorenza is back! Thank you and good luck!!! A: Here's how my playing differs from those guys...................I suck they don't but thanks. Lorenza is going to play with the band in Nashville also.

ça sent le LH Tour avec au moins Lost Highway, Whole Lot Of Leavin', We Got It Going On, Make A Memory et I Love This Town...

C'était une black list ds la ville du Man In Black

Une ode aux fans pour Jon sans lesquels il ne serait rien !
Jon a beau dire que When We Were Beautiful est la chanson dont il est très fier, le public semble désespérément ne vouloir que les anciens hits

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“(Nashville) is a very important city to me,” singer Jon Bon Jovi said from the Bridgestone Arena stage Wednesday night, as his surnamed band’s Circle Tour made its way to Music City. “We’ve been coming here for a long time and have a lot of good friends here.” Bon Jovi recently spent a healthy share of time in Nashville, writing and recording much of 2007 album Lost Highway. The singer said he didn’t plan for his band to follow up that album so soon with 2009’s The Circle, but that the state of the world over the last 18 months made him feel like he had no other choice. “We have to sift through it all and make it make sense,” he said. “I guess what I’m trying to say is this is more the ‘we’ decade than the ‘me’ decade.” The Circle reflects that sentiment, and the band worked flawless versions of five of its 12 songs into their 23-song set, including current single “Superman Tonight” and “When We Were Beautiful,” which the singer introduced as “one of the songs I’m most proud of.” The crowd responded favorably, but the older hits still seemed to connect most with the near-16,000 people in the audience. Wednesday’s show kicked off with “Blood on Blood” from 1988’s New Jersey, and one of the first of many massive sing-alongs came two songs later as Bon Jovi launched into late-’80s hit “You Give Love a Bad Name.” (An extended version of “Bad Medicine,” “It’s My Life” and “We Got It Going On” earned similar degrees of crowd participation.) Even as the band worked through hits from decades past, their stage show brought out all the modern elements fans have come to expect: An LED video wall punctuated the songs, morphing from one enormous screen to six rotating ones to a disjointed curtain of about 100 mini-screens, and a small, circular walkway linked up to the main stage via removable bridges. Fans expecting the Bon Jovi-standard high-energy performance weren’t let down there, either. Guitarist Richie Sambora, often strapping on a double-necked, woodgrain Taylor guitar, cranked his signature heavy guitar tone, singer Bon Jovi bounding from one side of the stage to the other flashing smiles, punching the air, swiveling his hips and waving his hands. The front man’s energy kept the bulk of the crowd on their feet with their hands in the air throughout the set. But the evening wasn’t without its surprises. The band recently brought debut single “Runaway” back into their show after a years-long absence, and for the first time in Bon Jovi history they invited drummer Tico Torres to sit in on percussion during their acoustic songs — a show-highlight set of tunes that included Bon Jovi/Sambora duet “I’ll Be There for You” and a new, slower arrangement of “Someday I’ll Be Saturday Night” that showcased the band’s harmonies. Bon Jovi kicked the power back on and closed out the show with encore performances of fan staples such as “Wanted Dead or Alive” and “Livin' on a Prayer,” the latter earning the loudest applause of the night. “Thank you guys for coming out on a work night,” Jon Bon Jovi said. “We’ve been good friends for over a quarter of a century, and I know I wouldn’t be here without you.”

Des gens qui n'aiment pas Bon Jovi se sont trompés de concert et ont atterri au show. Un peu de mauvaise foi voire de l'aigreur (ils st allés au concert alcoolisés pour faire passer la pilule et auraient aimé que le gpe fasse pareil ) ms y'a du vrai objectivement ...
Comme Jon qui apparaît de pair avec Bob Dylan sur les écrans pendant We Weren't Born To Follow
Après, c'est de la grosse caricature du groupe ...

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Bon Jovi at Bridgestone Arena, 4/21/10 Posted by The Spin on Thu, Apr 22, 2010 at 3:15 PM noimage_nophoto-thumb-200x166.jpg Dammit! We picked the wrong show. Or should we say, the wrong the show picked us. With living legend Levon Helm bringing his Ramble to The Ryman, and Louisville indie-faves My Morning Jacket bringing their mass-cult takeover to Municipal Auditorium, there was more than a time or two where we found ourselves wondering how exactly we ended up at Bon Jovi. Free tickets, that’s how. Another Spin faction laid claim to Levon, and tickets for "free BJ" got to us before tickets for free MMJ. With conventional wisdom as our guide, we felt secure in anticipation that Jon Bon & Co. would treat us to the quintessential rock spectacle. Unlike most rock acts, Bon Jovi is a band you really, only want to see in an arena, and we most definitely got the parade of powerhouse radio staples and shout-along choruses, as led by Jon Bon Jovi’s consummate showmanship. So why then, did we come away from this show feeling a little disappointed? It’s not because we felt bad fist-pumping to “You Give Love a Bad Name” while missing out on seeing Levon Helm sing “The Weight.” It’s because the handful of obligatory hits we came to see was dispersed throughout a heavy-handed “miss”-laden set of overly earnest thematic train-wreckage. Plus, there was no pyro. WTF? After hobnobbing among classier folk and taking advantage of liberally dispersed drink tickets over at the Iron Fork shindig, we sauntered across the street to Bridgestone Arena, made our way through the crowd of fortysomethings and found our seats just in time to catch the tail-end of Emo (with a capital E) openers Dashboard Confessional — an act whose inexplicable inclusion on the bill is bewildering to say the least. We can only assume Bon Jovi selected the sensitive, pomade-dependent emoter of emotions to make themselves look tough by comparison. It worked. Mercifully we only caught two songs, one of which was a cover of Bryan Adams’ “Summer of ’69,” which we suppose is better than hearing “Screaming Infidelities.” With the arena appearing sold-out on a Wednesday night, you’d have never guessed we were in the middle of a recession, making it clear Bon Jovi have succeeded in getting the fan base they cultivated as ‘80s pop-metal pinups to follow them into adulthood. From our perspective, though, the tragic thing about Bon Jovi is the “maturation” of the latter-career material that dominated their setlist. With our seats well up into the Bridgestone’s nosebleed horseshoe, the feeling of seeing the iconic band come onstage was like seeing a recognizable landmark from a airplane window. After opening with 1988’s “Blood on Blood” — a song not seemingly familiar to most in the crowd — things immediately got uncomfortable as they followed the New Jersey deep cut with “We Weren’t Born to Follow,” the lead-off track to their latest, The Circle. The overwrought anthem was accompanied by a wall of video screens, which bombarded us with hackneyed platitudes like “move forward,” “break the chain,” “act now,” “stand up,” etc., most of which were lost on the crowd, some of whom booed when the words were displayed next to images of Martin Luther King Jr. and Barack Obama. We booed when images of Richie Sambora (mid-guitar solo) were juxtaposed with images of Jimi Hendrix, and images of Jon Bon were juxtaposed with images of Bob Dylan. Which brings us to the central problem of Bon Jovi’s painstaking earnestness: It’s hamfisted, clumsy and callous. We quickly realized the band would spend a large part of the show making laughably broad, pseudo-uplifting gestures without ever tying them to a specific idea. The most profound examples of this were the Springsteen-for-dummies populist mess “Work For the Working Man” and the set-closing whisper-fest “Love’s the Only Rule,” which the band were obviously more passionate about than running through "Keep the Faith" for the 2,172nd time. Luckily, they still remember how they got where they are, and threw us a bone early in the set with “You Give a Love a Bad Name,” which got us and everyone else on their feet. This is the stuff we came to see. We guzzled our brew and joined the shout-along, and it was momentarily awesome. The band were at their best when unleashing the hits as Jon Bon — looking like Jane Fonda in a mid-'80s workout video — did his familiar jumping-jack bounce, Richie Sambora wailed ejaculatory false harmonics and drummer Tico Torres pounded away with arms like groove cannons. And of course, keyboardist David Bryan's perennial poodle-perm never gets old. That dude is steadfast when it comes to coiff. As the band eased into selections from Lost Highway, their 2007 country endeavor — which really just sounds like modern-day Jovi dressed up in cowboy boots and studs — we eased our way out to the smoking deck to kill both time and brain cells, waiting for the hits to start again. Upon our return, we were treated to a nine-minute rendition of “Bad Medicine,” complete with a mid-song medley of “Shout” and The Doors' “Roadhouse Blues.” Despite The Spin’s disdain for The Doors, this was actually the most spirited part of the show. What followed was the crowd-galvanizing Backstreet-Boys-plus-talk-box hit “It’s My Life” and a blue-balling version of “Lay Your Hands on Me” that featured Sambora on lead vocals. Listen, if we wanted to see a guy who isn’t Jon Bon singing this song while wearing a silly hat, we would’ve just gone to Paradise Park. While that moment was confounding, nothing prepared us for what came next — Jon Bon emerging onto the mid-floor catwalk to sing an impassioned rendition of Leonard Cohen’s “Hallelujah” — transforming it into an every-bad-boy-has-a-soft-side torch ballad, complete with grab-at-an-invisible-angels histrionics, taken straight out of an SNL sketch. Jaws: dropped. Next came the obligatory mid-show acoustic set (double-neck acoustic, as a matter of fact), which is perfectly acceptable from the guys who coronated MTV Unplugged way back when. We’ll give 'em a pass on that one. After riding through the peaks and valleys of predictable hits, stadium-country and overly-serious Coldplay-meets-Van Halen stabs at the stratosphere, the band encored with a balls-out triptych of “Runaway," the long-awaited “Wanted (Dead or Alive)” and the ever-epic “Livin’ on a Prayer,” which made us feel like kids being rewarded with ice cream after two-hours spent eating over-cooked vegetables. The pay-off made the show worth price of admission, which in our case was free. We wanted so badly to love this show, we really did. We did our part and pre-gamed it pretty hard beforehand, in an attempt to wash away our pretension with alcohol. If only the band had done the same.

Richie parle ds le Nashville Music Guide :

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Je me trompe dans la compréhension du texte ou bien il est écrit que Who says U can't go home est sur l'album Lost Highway ? [Vous devez être inscrit et connecté pour voir cette image] Il était bien sur Have a nice day ce titre non ? Pour un article qui relate ce que dit Richie je trouve qu'on ne le voit pas beaucoup sur les photos............OK [Vous devez être inscrit et connecté pour voir cette image][Vous devez être inscrit et connecté pour voir ce lien] border="0" alt="" /> [Vous devez être inscrit et connecté pour voir cette image][Vous devez être inscrit et connecté pour voir ce lien] border="0" alt="" /> [Vous devez être inscrit et connecté pour voir cette image][Vous devez être inscrit et connecté pour voir ce lien] border="0" alt="" />