Bruce Springsteen treated the Barcelona fans to an epic, marathon 29-song set tonight as his Wrecking Ball tour heads continues its European trek. The 29-song show tonight is by far the longest of the tour and included two tour premieres and one big surprise.

The first half of the set felt like a mashup of the current tour and the Reunion Tour from 1999-00 with songs like "Youngstown," "Murder, Inc" and tonight's tour premiere of "You Can Look (But You Better Not Touch)" all played in close proximity to one another. The length of the show actually harkens back to those days but that's where the comparisons end because this was, once again, every bit the stadium show you've come to expect from the E Street Band since 1984…

Except…

"Prove It All Night' has been a setlist standard since it was released on Darkness On The Edge Of Town but it hasn't been performed the same way as when it was released for lo these many years… until tonight. I don't know the last time "Prove It" was preceded by the mythical '78 intro but Barcelona got it tonight and Springsteen fans around the internet are green with envy. The other tour premiere was "Hungry Heart" and last night's premieres of "The River" and "Born In The USA" remained in the set. Another rare fan favorite "Talk To Me" was thrown into the mix tonight, too.

I'd tell fans calling this the best setlist ever to tap the breaks as it was still awfully heavy on warhorses that have been played to death the two tour premieres tonight aren't exactly rare but the '78 intro into the also-not-rare "Prove It" and "Talk To Me" are a couple of nice treats mixed in with songs from the new album and the stadium staples from BITUSA. I think I'd prefer the slightly shorter but more imaginative Newark set to this one, but this would have been a good one to see.

1. Badlands
2. We Take Care of Our Own
3. Wrecking Ball
4. No Surrender
5. Death to My Hometown
6. My City of Ruins
7. Out in the Street
8. Talk to Me
9. Jack of All Trades
10. Youngstown
11. Murder Incorporated
12. Johnny 99
13. You Can Look (But You Better Not Touch)
14. She's the One
15. Shackled and Drawn
16. Waitin' On a Sunny Day
17. The Promised Land
18. The River
19. Prove It All Night (w/78 Intro)
20. Hungry Heart
21. The Rising
22. We Are Alive
23. Thunder Road
    ### ### ### 
24. Rocky Ground
25. Born in the U.S.A.
26. Born to Run
27. Bobby Jean
28. Dancing in the Dark
29. Tenth Avenue Freeze-Out

As far as radio-ready pop rap goes, B.o.B’s second record is pretty decent fare. Strange Clouds has all of the markings of a hit, including a wide array of guest stars and melodic, offhand tracks good for summer cruising and spring clubbing.

As the follow-up to B.o.B Presents: The Adventures of Bobby Ray, Strange Clouds is about what fans have come to expect. That record featured edible tracks like “Airplanes” and “Nothin’ on You,” both of which featured big name guest spots. This album packs similar singles and will enjoy similar success, but there’s nothing here that sets Bobby Ray apart from the relatively mediocre range of similar artists.

B.o.B’s tendency to play things safe will work wonders, of course. The craving for safe, cushy music may well be at an all-time high and Strange Clouds, with few allowances, is the ideal banquet.

As a rapper, B.o.B actually manages to carry some good flow when the opportunity presents itself. He shines brightest on the record’s solo cuts because he is outshined by nearly all of his guest stars. His pairing with Nicki Minaj (“Out of My Mind”) does appear to bring his enunciation and cadence up to another level, however, so the psycho Barbie doll’s job is well done here.

The album opens with “Bombs Away,” a track that has the pluck to include Morgan Freeman in a guest spot. After an intro that sounds like something from March of the Penguins, B.o.B takes off on a somewhat perfunctory set of bars that seems to mimic Eminem’s flow but never musters the rage the relatively peculiar, tortuous lyrics try to draw.

Taylor Swift sings the chorus on “Both of Us,” a track that attempts to decry conformity and support the plight of the underdogs. It’s a sweet sentiment, but Swift’s treacly and dull vocals, coupled with Bobby Ray’s lacklustre flow, creates little more than an American Idol moment.

Business picks up unsurprisingly with the appearance of Lil’ Wayne on the title track. Like B.o.B.’s team-up with Minaj, his work with Lil’ Wayne causes him to hoist things somewhat. Bobby Ray wisely approaches the track more aggressively, but Wayne demolishes him on what is a fairly average verse.

B.o.B also teams up with T.I. and Chris Brown (“Arena”) and tries to cut his own version of Eminem’s “Stan” (“Where Are You”), but Strange Clouds is too average to really take off. Fans will be satisfied with his middling pop rap and his safe brand of music is great for the radio, but real hip hop heads already know the book on B.o.B. and won’t be enticed by anything on this lukewarm sophomore record.

We’re finally down to our Top 3 finalists vying for that American Idol title and new Ford car not to mention recording contract. None of that guarantees any modicum of success (just ask Lee DeWyze, Kris Allen, Taylor Hicks and Ruben Studdard). Now, now I know they all (except LDW) have had success “in their own way” but they are usually relegated to flash in the pan status. Not winning seems to be where the real prize is with these shows.

In the last two weeks we’ve said goodbye to Skylar Laine and Hollie Cavanagh who both overstayed their welcomes and will now fade into obscurity where they belong. Joshua Ledet, Jessica Sanchez, and Phillip Phillips are our final three and they will get to participate in Hometown Visits where they go back home and are treated like royalty, thank their family and fans, put on a small show and hope that momentum carries them through the night's 3 song show and onto the Finals.

First thing’s first though and Joshua hits the stage with judge Randy Jackson’s pick for him “I’d Rather Go Blind” by the spectacular Etta James. This song was slayed by little Rachel Crow on The X Factor but, Joshua did what he always did and while it got screamy, it was mostly beautiful. JLo called him a “throwback” and Randy gave him mad props.

Mariah Carey’s “My All” is what JLo picked for Jessica and it’s a great fit but, a really big undertaking. It definitely feels like JLo picked a song to watch Jess fail a little because she herself could never touch this song. Randy loved Jessica’s same as always delivery and said it was maybe the best Mariah’s ever been covered on Idol. Saying much? No. Steven Tyler said he predicts Jessica will be the last one standing next week.

Steven Tyler picks “Beggin” by Madcon for Phillip Phillips because he’s bound and determined to pull a melody out of this kid. Phillip does what he always does and did it w-…sorry I dozed off. Next! Steven loved it and said Phillip could be the next Boss and that he hopes he writes his own songs. JLo said something bland and forgettable and Randy Jackson did his “we’re at a Phillip Phillips concert, y’all” bit.

At the end of Round One Randy picked Joshua as the winner and JLo and Steven picked Phillip Phillips as the best of round one. I just realized…these three contestants are mini versions of the judges and they picked as such. JLo gave JSan a song she herself could never tackle, Randy gave his mancrush a hot Blues/Soul song and Steven picked a song to show PP he’ll never be Crazy Uncle Steven Tyler.

Moving on to the hometown part of the show with clips of the contestants visiting their old stomping grounds and ultimately receiving calls or texts from Jimmy Iovine revealing his pick for their third and final song of the night. Joshua is up first  and takes us to Westlake, LA where he is so overwhelmed, sweet and humbled currently he’s my favorite, that’s how I’ve picked my winner the last 2 years…by who breaks down and/or seems most genuinely moved by the experience. He’s at about a 2 out of 5 on the Humble and Grateful scale so let’s see if Jessica and Phillip hold it together or not.

Now we’re on to song two for the contestants and this is “Contestants Choice” Joshua is up first again and his pick is “Imagine” by John Lennon which fits in with his uplifting, spiritual thing he has going on and it’s definitely beautiful but it leaves me cold. No one can touch David Archuleta’s version from Season 7, the year that deplorable David Cook won the competition. JLo said it’s like he’s preaching while he was singing and that’s hard to do. Randy asked him why he chose it and he revealed it’s because it’s a more dialed back song than he normally sings and it’s so powerful and he loves the message.

Jessica Sanchez is next to go home and it’s a short helicopter ride from LA to San Diego and her two little brothers were so shy and sweet and happy to see her they made me cry. She went back to the USS Midway where her auditions that sent her to Hollywood were held. Now it’s time for Jessica’s pick and she’s doing “Don’t Wanna Miss A Thing” by Aerosmith. While she was dialed back and had a string section behind her it still was missing anything special and missing a connection. The judges will love it but I didn’t appreciate her screaming at me. Steven gave her a standing O and told her “You just took a great song and made it greater…beautiful!” JLo said she sent her to the Heavens with her closing note. Randy said “yo” a bunch of times and maybe said something constructive. Probably not.

Phillip Phillips goes home to dinky Leesburg, GA and it’s the first time ever he’s ever been likable and human to me, he teared up when his dad was talking about how proud he is, he was so good and sweet and broke down due to being overwhelmed on the way to his concert venue. Phillip Phillips just won, mark my words. Now we’re on to his performance with the song “Disease” by Matchbox20. I loved the setup with him and his band sitting on trunks and music equipment like they just had an impromptu jam session backstage. To know how Phillip did see all my other critiques of his performances all season. JLo felt bored and not wowed by his performance but said she’s excited to see what he has next. Steven said “You don’t have the disease, you have the bug man.” Randy made it unanimous with not hating it but not loving it, either.

For the contestant’s final performances mentor Jimmy Iovine selects what he wants to hear them sing and he gives Joshua the perfect song with Mary J Blige’s “No More Drama” he oozed soul, pain and blues all over that song. He was also super shouty which detracted some but, overall he was pretty excellent. Awesome song choice. Randy said “At this point it doesn’t matter what you do at this point everyone should just vote for you.” JLo said watching he’s magic and he “took us to church.” Steven loved it and said “it was over the top.”

Jimmy chooses “I’ll Be There” by Jackson 5 for Jessica and this is not only my favorite song sung by any Jackson but one of my favorite songs on the planet and the way she starts off brought immediate goosebumps to my arms. She’s never been my favorite but of the remaining three she’s the most polished and most generic which would suit the powers that be at Idol just fine. Steven called it delicious and said it makes him think “Don’t bore us, get to the chorus” and JLo said Jess sounded like MJ in spots. Randy said it was “just OK.” He wanted a moment and she never delivered.

Phillip is closing the show and mentor Jimmy Iovine picks “We’ve Got Tonight” by Bob Seger and Jimmy thinks this sweet, dark, love song has a melody so great even PP will stick to it. Phillip has me at the first word…no guitar, in front of a piano (not playing just sitting) and it’s really good and special. He did a fabulous job. Turns out he can actually sing and it’s actually a better voice than his raspy, growly one he normally lays on us.  Since his win is inevitable, I’ll go ahead and admit I’m about one toe on the PP train. Randy said he did what Jessica failed to do: deliver big at the perfect time and called it his best performance of the season. JLo said it was beautiful and called it a lullaby. Steven said he nailed it and his passion is amazing.

So in true Lee DeWyze style the WGWG (WhiteGuyWithGuitar) torch was passed last night with clinching the evening of top three and he’ll slightly tank or be lackluster again for next week’s finals but it won’t even matter. Joshua will go home tonight and it will be Jessica Sanchez and Phillip Phillips in the Finals with PP bringing the Idol crown home to Georgia. If life were fair it would be Jessica and Joshua in the Finals but America you don’t work that way, do you?

Two recent indie CD’s from Toronto and area-based artists show just how strong and diverse the Canadian roots scene is...

Steve Strongman (based in Hamilton, Ontario) steps up with his first acoustic offering, an all-original outing (with co-writing credits to producer Rob Szabo on seven tracks). While the structures and overall instrumental palette are familiar enough, Strongman’s passionate performances and superior songs raise this one well above the pack. 

Strongman’s gritty, true-to-life compositions avoid trite repetition of tired clichés, and while he’s established a reputation as a hard-hitting electric guitarist, his acoustic work is nothing short of revelatory. About half the disc’s dozen tracks feature Strongman solo, with only his guitar and harmonica in support of slightly growly and thoroughly believable vocals, and he handles every tune with aplomb. Backing on roughly half the tracks comes from a hand-picked cast including Alec Fraser on bass and Jesse O’Brien on keys, with Szabo contributing bass on one and the great Suzie Vinnick adding engaging vocal counterpoint on “I’m Leaving.” 

The band adds welcome variety to proceedings, but in truth Strongman is (pun intended) strong enough to carry things on his own. His fretwork is dazzling without being showy, and his natural, unforced delivery is invariably appealing.

Strongman’s songs range from the straightforward blues of “I Got Trouble” to the bouncy and positively joyous “I Forgot,” with catchy hand-claps and rubbery bass lending a gospel feel to a heartfelt song of love. Elsewhere there’s the grinding blues of “The Mood” and “Rocking Chair Blues” and the irresistibly infectious “Full Of You.”  Traditionalists will find much to like in darker fare like “Can’t Go Back” and “I Got Trouble.”

Whether he’s alone or backed by a full band, Strongman is fully in command, and A Natural Fact is, quite simply, as good as it gets.

Based in Toronto, Soulstack is led by guitarist and vocalist Jon Knight. Aptly named, their sound is rooted in the blues but owes much to the soulful keys – lots of moody organ to provide a sonic cushion – courtesy of co-writer Mark Wessenger. Kicking off with the hard-driving “Stone Cold Man” (featuring stinging  guitar from former bandmate Dylan Wickens), Soulstack deliver a dozen superior originals along with a fine, gospel-flavored “In My Time Of Dying.”

Knight and Wessenger have obviously taken their time crafting these tunes – every song here is masterfully assembled, layer by layer, vocals and guitar, piano and organ expertly interwoven, all anchored by supple bass courtesy of Knight’s younger brother Josh and loose-limbed drums from Tom Bona, whose sheer exuberance comes through in every beat.

Compositions are based on classic soul forms, and there are many moments that sound vaguely familiar, but that’s because Knight and Wessenger are working with the basic building blocks – the DNA of soul, if you will – yet never resort to imitation. They’re patient enough to allow songs to unfold organically, and as a result each tune builds in seemingly inevitable intensity. Knight has a near-perfect blue-eyed-soul voice, and Wessenger is quite simply a marvel on both piano and organ, stepping up front for a couple of vocal turns and contributing harmonies throughout. 

Gospel figures prominently, particularly on “River Of Love” and rave-up closer “Miss Me.”  Both are secular rather than spiritual, but the genre’s fervor and passion are amply evident, and both tunes reach heavenly heights. Elsewhere, though, the boys get earthy with the unapologetic “Skinny Girls” and swampy on the moody “Let Me Be Your Man.”

Straddling that fine line between exuberant expression and impeccable execution, Soulstack prove that ‘rootsy’ can still result in something thoroughly fresh and exciting. 

Without a substantial promotional budget, it’s all too easy for excellent recordings to slip under the radar these days. But both A Natural Fact and Big Red are the equal of any major-label release on the market, and both are well worth seeking out. Highly recommended!

There are many great minds who experience music with an ear for the intellectual and technical, focusing on intonation, time signature changes, key changes, theoretical analysis of composition, and tracing the roots of influence. Some readers find that sort of thing dry- not me. I've learned enough to dabble in those waters by reading that kind of explanation and find the science behind the art fascinating.

I could get sopout my Jazz-English dictionary and give a rudimentary explanation of what's happening and how it's being done. I could also give you the Dick Clark American Bandstand"It's got a good beat but I wouldn't want to dance to it" summation but that's not how I experience Barrett Martin Group's sophomore release Artifacts.

I hear sounds shifting, creating movement and becoming motion, painting moving pictures not constrained by the straight-line continuum of time.

The great composers and historians could break this down into equations and charts but I don't see treble clefs and notes on a page. I experience tangible exhilarating when the music surprises and carries me, when notes move up instead of down or an instrument is used in an unusual way or is cast in a role I didn't anticiapte. It's why it doesn't matter that vocalist Mehnaz Hoosein sings in a language I don't speak. Her vocals, chants, and incantations express meaning beyond translated words and remind us the human voice is a more expressive instrument than any man or machine have constructed.

If their debut Atlas: Latitudes took us on a journey, its follow-up Artifacts exists as the philosophical and musical souvenirs we returned with. The voyages transform from sights to sounds, from sounds to experiences that combine ancient, sacred rhythms married to modern arrangements with melodies and improvisation that conjure timeless spirits.

Martin has always been generous on his solo records, allowing his talented musical companions plenty of opportunities to bring their instrumental and interpretive gifts to his compositions. Maybe I've listened to rock records for too long or believed too many stories of dictatorial bandleaders but his generosity is even more evident with the players in this band. He worked with many of them on his solo albums but this is a band record with a democratic approach where the player is subordinate to the moment and the music.

"Float Like A Butterfly" opens Artifact in a bold manner, reminiscent of the way "Muhammad Ali" christened Martin's solo debut The Painted Desert. The two compositions do more than share a tie to the greatest of all time. They're distinct from one another but "Float" riffs on themes from its predecessor while exploring new musical ground with prominent performances from guitarist Paul Fischer and trumpeter Dave Carter. Fischer's quick, thick chording forms the background for "Way Down" with Carter's trumpet, at times in tandem with Ed Ulman's trombone, carrying the majority of the melodic load. Hoosein's hypnotic vocal passages in "Lotus Eater" are made more mystical with help from Ben Thomas' vibraphone accompinament

"Voodoo Charm" and "Dark Forest" are as musically evocative as their titles and are my favorite compositions on the record. Thomas' subliminal vibes work can be felt beneath the more prominent horn and organ work on "Voodoo." They are a little more prominent in the midsection of "Dark Forest," serving as a bridge between verses. "Ghost Mountain" is a more harrowing journey and is a showcase for Martin's percussion skills and instincts as well as his work with clay flutes.

Artifacts is what every band hopes their second album wishes for, taking what was good about their debut and pushing forward, reaching further, and expanding their sound without losing their identity. It is an exotic mixture of sounds and ideas, pushing boundaries of what's possible while remaining accessible. Buy the ticket and take the trip with Barrett Martin Group. Begin the voyage of discovery with Atlas and return home with timeless Artifacts.