Little Steven and the Disciples of Soul wish America a happy 250th at ParkStage

A funky, soulful, egalitarian — and, yes, I’ll say it, patriotic — Rock n Soul Revue hit the stage at the East Freehold Park Showgrounds in Freehold, New Jersey, on Friday night, for an explosion of vision, good times, and hard-won soul (and salsa!).

I read a recent interview with Ken Burns where he pushed back on the idea that our country is more divided than it’s ever been. ‘It’s really not’, he said. “We were way more divided during our Revolution than we are right now; way more divided, obviously, during our Civil War; way more divided in the period after the Civil War called Reconstruction… way more divided during the Vietnam era”.  Those first two seemed long lost to me, but hearing that we may once have been as torn apart as we can seem to be now,  in the ’60s and come through it — that gave me a big boost of hope.  Right up until the latter paragraphs, about social media splintering us off in ways we never have been before, and something I’d read recently about the end of history arriving by way of social media and AI.

Stevie Van Zandt’s blast of supercharged ’60s optimism shot straight through that gloom. As he’s fond of saying on X at times, ‘he’s just a hippie, man’. And there, folded into the night with Lowell “Banana” Levinger — the Youngbloods legend who has contributed on piano, mandolin and more on the last few Disciples of Soul tours— was the message that is always in Little Steven’s music: ‘come on, people, everybody get together and try to love one another, right now’, to turn a phrase… That was the spirit, disguised under the sexy, edgy, shimmering ’80s MTV sheen of “Out of the Darkness”, as Little Steven closed out Friday night’s show with a stirring assertion that things were gonna be ok. ‘these may seem like difficult time, but we’ve been there before, and together we’ll make it out of the darkness’,  that’s how Steven chose to end this show. But lemme not get ahead of myself.

The last time I wrote about a Stevie show — back in 2019, reviewing his California, Saban Theater show on the Summer of Sorcery tour — i noted that I’m a fan, so I have to keep pulling myself back from quoting the lyrics too much. I could easily let this read as a collection of inspiring, goosebump-inducing couplets from the Disciple of Soul himself. But in the intervening years my fandom has been writ large: I got to extol some of Stevie’s virtues in the Grammy-nominated documentary about him, Disciple, crafted over many long nights and transatlantic flights by Rob Cotto, David Fisher and myself. So I feel ok to lean into the lyrics a little more this time. Mostly, though, I just want to write about how touched I was by this once-in-a-lifetime Disciples-of-Soul centric rhythm-and-blues, rock-and-roll, hippie-funk, Salsa, Mambo and Reggae revue.

The show was originally slated for the Fourth of July weekend to celebrate America’s 250th, with commemorative posters and T-shirts made to match — one of the marquee events of the gleaming new ParkStage venue’s inaugural summer. Then it was rescheduled to two weeks later after a brutal heat wave, and some acts got shifted around. Between that shuffled schedule, wacky airlines with flights canceled aplenty, and my own silly idea that it would be fun to land in New York and just drive over to Jersey, I missed some of the opening acts I was stoked to see. I caught Jake Clemons’ wonderful band, but missed one of my favorite tunes of theirs, their cover of Leonard Cohen’s “Democracy” — awfully apropos for a celebration of America’s 250th. Low Cut Connie, who’d been on the original bill, couldn’t make the rescheduled date, but The Weaklings did – yet i missed ‘em. I missed hearing Williams Honor sitting in with the legendary Joe Grushecky and the Houserockers, missed hearing ‘Pumping Iron’ , one of my faves of theirs, performed live. And missed  the great Gary U.S. Bonds sitting in with them.  Luckily I’d seen Gary at The Stony Pony last year, and he remains a favorite.

I flew in for a chance to hear the Disciples of Soul in their full power — something that’s been missing from the stage since April of 2023,  since those two incredible  nights at the Count Basie Theater in Red Bank in 2023, captured by filmmaker Ryan Celli  and woven into our HBO film on Little Steven — for the occasion of America’s 250th, i thought the Patriot would have new outfits of the band, maybe. But probably a revamp of that last show, more or less. If this were any other human, one would write that ‘it’s been an exceptionally busy period for Steven’ — except that every day is an exceptionally busy period for Steven. From leading the effort to rename West 8th street, ‘Jimi Hendrix Way’ (done!) down the street from the Café Wha? to a quick and powerful barnstorming tour as musical director and main foil to his pal Bruce Springsteen in the E Street Band, to running his record label, several satellite radio stations, and myriad film and television projects –  I figured he wouldn’t have time to build a whole show commemorating America’s birthday.

You’d think I would know better. Come on — history should teach you something.

The set

After  a rousing introduction from Freeform DJ and musicologist Rich Russo, a sorta familiar horn riff took hold. The Disciples hit the stage indeed dressed to impress, in red, white and blue — and I was trying, and the whole crowd was trying, to place that horn riff, as Stevie strode on stage dressed like the coolest possible version of Elvis himself: a red-white-and-blue bandana and scarf over a glorious white rock-and-roll outfit, shimmering like the most rockin’ version of Stevie Van Zandt . Then he ripped into it — a super-soulful R&B-meets-rock-and-roll version of his 1984 rave-up “Voice of America.” Can you hear me? Wake up. By the way, according to setlist.fm this was the first time he’d played the song live since 1987 — nearly four decades dormant, resurrected as a wake-up call for right now.

Like most songs this evening, it benefited not only from a spectacular arrangement but from the blistering, incendiary guitar work of Mr. Van Zandt. An appropriate player at every appearance, his solo shows give him the full opportunity to wield his instrument like the master he is, and his playing on this hot July evening was nothing short of fiery — and nothing short of mischievous and delightful. A reminder that Stevie Van Zandt is one of the tastiest guitar players alive.

Zoe Thrall, one-time Disciple of Soul and a frequent collaborator of his, once pointed out to me that on the Men Without Women tour Stevie was handling all the guitar playing — not just the leads but everything — à la Pete Townshend, except that instead of holding down a three- or four-man ensemble like The Who, he was anchoring a huge band with congas, drums, horns and more – with one guitar. He remains a virtuoso. But because everything musically — the arranging, the production, the vocals — is so specifically perfect, sometimes it’s surprising to see firsthand just how perfect that playing is.

Just after a moment to yearn for the Voice of America, the next song, “Lyin’ in a Bed of Fire” — the statement of purpose from his debut, Men Without Women — served to explain what that voice was saying. These were the almost-overlooked politics of Stevie’s first album, which on the record, sat right next to the gorgeous love story between he and wife Maureen. “Lyin in a Bed of Fire” is an incredibly prescient vision of where we are today. It may have been released in ’82, but it landed as powerfully as ever, maybe even more so, in 2026.

We’re lyin’ in a bed of fire

Can’t you feel the heat all around us

We’re lyin’ in a bed of fire

The flames threatening to drown us

Had me a real bad dream last night

This morning my bad dream was alive walking the streets of New York City

Somebody has to face this thing somehow

There’s no one left but us now

“Inside of Me” — was next, and in it, those great ideals of the ’60s, of a united and just America are still worth fighting for and still alive inside the narrator. His remarkable band sharper than ever, Little Steven made his claim: it never died inside of me.

A moment, please, for the band Mr. Van Zandt assembled. The Disciples of Soul are among the greatest touring acts around, if not the very top in terms of sheer musicianship. The fact that this crack group could free up two Fridays on short notice  to reunite, (and then reschedule) many years after their last full tour — I’m certain there were dates canceled out of loyalty to their don, our consigliere, the one and only Stevie Van Zandt – is a

testament to this band.  These are in-demand players. But they were here for Steven, and Steven, in turn, is nothing if not appreciative. You can feel it in the interplay.

With the evening’s next song, “Soulfire,” which may have never sounded quite as needed and necessary — the solution to political strife was presented as being, of course, love, and the realization that we’re all connected. A dedication to the indefatigable Sammy of Wicked Cool Records led into “Salvation,” where the horns and the fuzzy rock-and-roll guitar back and forth have never sounded more welcome, more crisp, more alive. Lighting your Soulfire leads to Salvation – for those keeping score.

Then the Disciples stopped for a Jersey Shore tribute to the legend that is Southside Johnny, in some of songs Stevie and Johnny and Mr. Springsteen worked on together: “Love on the Wrong Side of Town” and “Trapped Again.” Next Steven flexed the band’s versatility with the on-the-spot Latin rhythms of “Party Mambo!” — a battle cry for Puerto Rico — before “our new single,” as Stevie announced,  a blazing, funky, soulful cover of the Jacksons’ “Can You Feel It”, one that gave center stage to the Soulettes — Jessie Wagner, Sara Devine and Audrey Martells — on vocals.

Five solo acts in one band

Having the girls take center stage on that song led to Little Steven handing the spotlight away for a bit. With the humble admission that ‘there are something like five people in the Disciples of Soul who’ve got their own solo records’, he turned the night over to a few of them, to fantastic effect.

Disciples Musical Director Marc Ribler took center stage for his blistering tune “Armageddon,” a song that in any just universe is a massive hit. Ribler commanded plenty of star power, borrowing the spotlight from his friend and boss, with Stevie clearly enjoying the entire affair and Ribler’s stunning chance to shine.

Ribler was followed by the insanely talented Jessie Wagner. I’ve had the privilege of following Jessie’s career for a short while and she’s unlike any artist around today. More talent than most, yes, but also a sweet, disarming charm married to a powerful rock goddess presence – Jessie is one of a kind — a powerhouse unlike anyone else. The way she commanded the stage on Friday night, on a blazing rock song named after Stevie’s record label, the aptly named “Wicked Cool,” was further proof. (ProTip: from girl group 60s flavored Christmas tunes, to reggae-tinged pop to straight ahead Rock n Roll, ya can’t go wrong with JW)

 

 

 

One of Wicked Cool’s most recent releases is Anthony Almonte’s brilliant new solo album, Conversando con la Luna — recently highlighted here in gen ñ and one of those records where every track is a killer, all bangers made for balmy, sexy tropical nights. Upon his turn at bat, Almonte took over center stage and turned outdoor Park Stage into a tiny, smoky Latin-jazz nightclub. His soulful canto then made room for Little Steven’s  fabulous Latin-tinged guitar work on “Caminando,” the cut from Almonte’s album that features Van Zandt on lead.

Van Zandt’s playing here is him at his most — take your pick: It’d be a piece of cake to say this is Stevie in Carlos Santana mode, channeling some of Carlos’s best solos from “Oye Como Va” to “Maria Maria.” But the truth is that Van Zandt’s knowledge of Latin music, which I’ve had the pleasure of discussing with him, runs far deeper than that. So believe me when I tell you his solo calls to mind Juanes; Howard E. Scott’s work in War; the session-guitar genius of Eric Gale on the Fania All-Stars tracks “Ella Fue (She Was The One)” and Celia Cruz’s “Isadora,”  to Barry Finnerty’s solo on Charanga 76’s “C/U/B/A – it’s Cuba” – Stevie’s solo, inside that groove – could swallow up most of these – it’s one of Salsa’s great guitar solos.  But the goal is never to upstage — but that would be hard to do next to Mr. Almonte anyway, a born bandleader with the looks, charm, charisma, vocals and vibe to command any stage. A live album from him is definitely needed.

The revue portion climaxed in the fabulous “Hippie Song,” featuring Lowell “Banana” Levinger conjuring the ghosts of the ’60s with a hook so deep Captain Nemo could dive into it. It was as catchy as anything the Disciples have ever put out – and Van Zandt mentioned it was a forthcoming Wicked Cool release -it’s a welcome one. Stirring and melodic.

Bringing it home

Stevie returned to center stage with a deeply reggae-tinged version of “I Am a Patriot,” giving props to Jackson Browne and Eddie Vedder, who’ve both covered the song quite beautifully. Then came “Love Again,” one of his greatest and most perfectly crafted pop songs — a Motown confection extolling the virtues of being truly alive, of reintroducing yourself to the stranger inside, stopping to tip its hat to the Temptations’ “I Wish It Would Rain.” A swinging romantic bauble where Sinatra meets Louis Jordan and Big Joe Turner, filtered through the telephone line of Holland-Dozier-Holland. I can’t give higher praise to a pop song, nor to a performance of one. As good as it gets.

“Ride the Night Away” — I believe written for Jimmy Barnes — is the answer to how a person can find themselves again: simply move forward.

there ain’t no time left to borrow

I guess I’ll have to think about it tomorrow

Tonight, We’re gonna ride the night away

Another hook that just insists we take that ride, while taking care of each other.

If “Ride the Night Away” teased more of the power of Stevie’s songwriting — then the last three songs truly brought the point home, hooks and Latin rock and roll like no other artist can deliver.  “Bitter Fruit,” always an expansive, beautiful track becomes something else entirely live, as it was on his last two tours: a blistering drum-and-conga- and timbales duel, Almonte and Rich Mercurio goin’ like Gene Krupa and Tito Puente (and Rey Barretto) – Stevie’s knockout guitar work and the full punch of the Soulettes set against that magnificent  horn section, (featuring among others, Ron Tooley – who toured with James Brown,  Eddie Manion – who also put out a great solo album and has been with the Jukes/Disciples/E.Street since the early days, and Stan Harrison – playin’ with Stevie since the Jukes’ Hearts of Stone), elevating the song to innumerable heights. It’s the ultimate live Disciples set piece. For the all the angst of the song’s lyrics – Van Zandt and the Disciples perform it joyously, extending the maximum power of each player’s  skills – this is Salsa as Punk Rock, but the ecstatic kind.

Then that joy in music making – slides into the effortless gear of the most fun track Little Steven has ever written as he leads the band into the idealistic bliss of “Soul Power Twist.”  The perfect thing for tonight.

It’s an endless summer night

Liberation’s in the air

I want to say I love you

To everybody everywhere

If you want to know how many variations of the twist there are, this is a glorious way to learn — with some of the most whimsical lyrics Stevie’s ever written, including a shout-out to Chubby Checker’s (almost lost record) “Karate Monkey.” And an invitation to everyone… to just dance. That gave way to set closer, “Forever,” a dedication to the love of his life, Maureen Van Zandt — their love story etched into the song, and the album & film Men Without Women. This is what Buddy Holly called True Love Ways, but with Motown and Stax/Volt punch and drive.

The encore was a tip of the pirate’s hat and a wink of the eye to one of his classic Jersey soul songs: “I Don’t Want to Go Home,” the title track from the Asbury Jukes’ first album, the presentation, as it was all night long – was masterful. Reach up and Touch the Sky, indeed.  And then “Out of the Darkness”… which is where we came in.  The percussion kicked it off… and Little Steven stepped to the mic, addressing the audience .. “if we stick together… and love each other… we will find our way out of the darkness”.

Again the horns and back ground vocals worked in with the synths, while Marc Ribler’s guitar solo was a thing of succinct power, and Little Steven’s lyrics held all of it,  “it’s gonna take.. All of us…. Nobody can do it on their own… if you are a fighter, hold me a little bit tighter… “ I believe he closed the Summer of Sorcery tour with it, but it was even more perfect here. A song cycle that comes all the way back around to the very beginning of the set.

By the time it was over, one felt lifted. This was a show that celebrated the United States in all its glory and complexity and all its funky, riffy, delicious, diverse music — Stevie & band were a bit like a new millennium Sly and the Family Stone tonight – bringing it home for America. A prayer for us to hang on till when we ain’t so divided, and a reminder that we’re all more aligned than we think. The simmering hope of that 80s beat with those horns augmenting the affirmation, together we’ll figure our way out.

Van Zandt — even if this is his only solo appearance of the year, and it may well be — remains a masterful performer, his band of compatriots as tight as any in the world. All-American Soul and Rock n Roll, Salsa, R&B and Reggae, and all of it embracing the love of our country and this crazy time all at once. A very musical happy birthday.

Let there be no doubt: this is America’s own Little Steven. A globally minded cat, but he belongs to us — an all-American patriot, celebrating what’s funky and good, and reminding us to hold each other’s hands as we walk through the tunnel toward the light.

Out of the darkness, indeed. Stevie, thanks for never letting us down.

– bill teck, 2026