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Best Driving Vacations 2024: Take a Battlefield Tour of Pennsylvania and Maryland

Visit gettysburg, antietam and fort necessity to honor those who gave their lives so the nation could live. plus, make a side trip to the flight 93 national memorial..

Cannon on the battlefield at Gettysburg

Today we continue on our journey highlighting four of the best driving destinations from central Ohio.

With a focus on the creme de la creme — vital, accessible and unforgettable voyages that every central Ohio resident should put on his or her bucket list — we offer suggestions that will appeal to most everyone.

From a circle tour of “our Great Lake” to the architectural wonders of a modernist sister city three hours away, these four extraordinary adventures are wonderful ways to widen your horizons in 2024.

More: Best Driving Vacations 2024: Explore the Northern Shore of Michigan’s Upper Peninsula

Today's installment is Part 2 of 4 destination packages from Columbus Monthly's annual travel guide. We hope you enjoy.

Traveling to Gettysburg and Antietam

Not every traveler is a history buff. But a visit to Gettysburg, site of one of the most iconic and bloody battles of the Civil War, should probably be on every American’s bucket list. 

From Columbus, the drive takes a bit more than six hours. And a two- or three-day visit to the Pennsylvania landmark can easily include several other noteworthy sites along the way, including another important Civil War battlefield, the fort where George Washington suffered his most humiliating defeat and the memorial where the first Americans to fight back during 9/11 are commemorated. 

In addition to being a major historic site, Gettysburg is also a lovely small town adept at catering to the nearly 1 million visitors who arrive each year. Even visitors who never set foot in the Gettysburg National Military Park would find plenty to do. Town streets are packed with shopping, dining, breweries and wineries, hotels and inns, galleries and museums. But the battlefield should definitely be on the to-do list. 

More than 165,000 Union and Confederate soldiers clashed from July 1-3, 1863. The largest battle ever fought on this continent resulted in more than 51,000 casualties — and turned the tide of the war in favor of the Union. The battlefield Museum and Visitors Center includes 12 separate galleries, many interactive exhibits and thousands of artifacts on display. Visitors can also experience the Gettysburg Cyclorama, a painting in-the-round created in the 1880s that tells the story of the battle and is, itself, a magnificent piece of history. 

Plenty can also be discovered on a self-guided auto tour. The 6,000-acre battlefield is crossed by several small roads with plenty of places to pull off and explore the many monuments and markers that were erected in the decades after the battle. 

Bus tours are available from the visitor center. But the best way to tour the battlefield may be with a licensed guide in your own vehicle. Guides are happy to customize tours based on visitors’ interests and knowledge. 

Although the three-day Battle of Gettysburg was the bloodiest battle of the Civil War, Antietam, near the village of Sharpsburg, Maryland, was the site of the war’s bloodiest single day — and the bloodiest day in American history, with some 23,000 casualties. Antietam National Battlefield is just an hour’s drive from Gettysburg, making it a logical stop for history-lovers passing through, or an easy daytrip for travelers extending their stay in the Pennsylvania town. 

Like Gettysburg, Antietam is dotted with monuments honoring the military units and men who served there. One of the most curious is a Brobdingnagian marker commemorating the service of a young commissary sergeant who went on to become President William McKinley. The monument celebrates McKinley’s efforts at bringing coffee and hot food to Union troops on the front lines. 

No, really. 

But if I were on the front, tired and hungry, I would certainly have welcomed and appreciated Sgt. Billy’s offerings. (Come to think of it, this might actually be the most noble act a future president has ever performed.) 

Fort Necessity National Battlefield

Southwestern Pennsylvania also hosts two other important historic sites along the route from central Ohio. Fort Necessity National Battlefield near Farmington, Pennsylvania, is a small historic site featuring a museum and the recreated fort where George Washington, as a very young lieutenant colonel, led a unit of British colonial troops to a humiliating defeat at the hands of the French in 1754. Though discouraged, Washington, of course, persevered, having much better luck decades later in the American Revolution. 

Few Americans who remember Sept. 11, 2001, can visit the Flight 93 National Memorial near Shanksville, Pennsylvania, and not get a bit emotional. The memorial tells the story of the terrorist attacks on the United States that day and of the passengers on United Flight 93 who gave their lives fighting back against their hijackers, preventing their plane from being used as a weapon against another prominent target, possibly the U.S. Capitol. 

The memorial marks the site where the plane hit the ground, killing all aboard. In addition to a museum, the site features several trails, including the Trail of Remembrance along the final flight path. Also at the memorial is the Tower of Voices, a 93-foot-tall structure containing 40 large wind chimes, each tuned to a separate and distinct tone of its own — a haunting and fitting way to remember the 40 passengers and crew of Flight 93 and a bit of history many of us lived through ourselves. 

Where to Stay When Visiting Gettysburg

Gettysburg offers a wide variety of lodging options. The Gettysburg Hotel (est. 1797) is a historic property at the heart of downtown with rates from $118 per night. For a cozier stay, consider the Brafferton Inn , with rooms beginning around $110 per night, or Battlefield Bed and Breakfast in a restored 1810 farmhouse, with rooms beginning around $210 per night. hotelgettysburg.com , brafferton.com , gettysburgbattlefield.com   

This story is from the Best Driving Vacations package in the February 2024 issue of Columbus Monthly. 

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2024 Could Be a Make-Or-Break Year for the Tour de France Femmes

I f there’s one depressing fact I’ve learned in nearly two decades of covering women’s cycling, it’s that, sadly, there’s rarely a moment to rest on one’s laurels in this sport—and that’s particularly true for race organizers, and team owners.

Just because a race does fantastically well one year in terms of unprecedented levels of viewership and media coverage or because a team is arguably the absolute best in the world doesn’t guarantee anything. It’s all easy come, easy go. That’s why I’m nervous about the Tour de France Femmes avec Zwift and why I believe that this year could be the most pivotal year for the race.

But why am I worried about the Tour de France Femmes in year three? After all, viewership numbers have been high, enthusiasm hasn’t waned, and sports bars are full of fans screaming for Demi Vollering and Kasia Niewiadoma. And yet... There are a few important factors to consider.

Last year, Zwift’s Kate Verroneau told me that the second year of the TDFF was scary for her: The first year, you’re riding a wave of hype. In the second year, the race has to stand as a great race, not just a “first.” What about the third year?

“There’s no kind of resting on the fact that last year was really successful,” Veronneau said then. “I look at it and think, ‘Last year was pretty easy sell: It was the first women’s Tour de France in over 30 years. That was easy to get the media on board, easy to get sponsors on board. It was the first time that that huge of an audience watched women’s racing.”

Year two was hugely successful, but what about year three?

The sponsorship dynamics at play

First, there’s the simple fact that this is year three of Zwift’s four-year commitment to the Tour de France Femmes in partnership with ASO. That means if Zwift isn’t planning to continue its support or is going to cut back its sponsorship budget, this is the year the race needs to look for a new sponsor.

Leaving it entirely to next year, the final year in their contract, is foolhardy. So I have to imagine that there’s some buzz happening behind the scenes already. I haven’t heard any scuttlebutt about them giving up their title sponsorship position, to be clear, but considering Zwift just had a round of layoffs and a shuffle in their C-suite , who knows where they’re heading? Hopefully into another lengthy contract, but it’s unclear. My fingers are crossed.

Viewership challenges

Viewership this year will also be more important than ever. High viewership numbers mean a better chance of securing new or renewed sponsorship dollars, and TdFF viewership has been undeniably impressive. But this year is going to make that tricky. The men’s Tour de France and the Tour de France Femmes are separated this year by the Olympics. That means three weeks between the races, rather than the men’s race ending on the day the women’s race began.

In the past two years, it was easy to just continue tuning in if you’d been watching the men’s race. This year, viewers will have to actively seek it out starting August 12—the day after the Olympics finish. That is a lot of TV watching for cycling/sports fans to contend with. While serious fans will still tune in, those ‘medium’ fans may not.

The state of the cycling industry

Then, there’s the cycling industry landscape. Brands like Trek and Specialized are slashing budgets , and Shimano is reporting quarter after quarter of losses . To blithely assume that there’s a cycling company capable of taking Zwift’s place as title sponsor in the current landscape is a mistake.

I say all this not to be discouraging. It’s meant to be a rallying cry. What does this all mean for you, the person reading this?

I want to believe that this race will survive and thrive in the same way that Le Tour has for over a century. But I also know that it takes more than love to keep a race of this magnitude running. It takes cold, hard cash. It takes commitment from big businesses that often see women’s cycling as a line item that they can scrap when it’s time to tighten up their belts. It took decades to get back to a point where we have this race. It’s happened before, it’s been lost before. Let’s not let it happen again.

It’s time to get fired up and ensure that the Tour de France Femmes isn’t just a blip in the cycling history books. Mark your calendars, set a Google alert for the Tour de France Femmes, follow racers on social media, and plan watch parties—let’s make this the loudest Tour de France Femmes yet.

Amidst sponsorship concerns and viewing challenges, Molly Hurford writes about how 2024 may be the Tour de France Femmes make-or-break year.

Q&A: James Taylor on his 2024 U.S. tour, the possibility of new music and his legacy

He’s gone to Carolina in his mind and on tour for much of 2024

LOS ANGELES -- He's gone to Carolina in his mind and on tour for much of 2024.

Not long after his 76th birthday, James Taylor & His All-Star Band will take their show on the road in the United States, hitting 24 cities for 31 shows in five months.

Over Zoom from his studio in western Massachusetts, Taylor tells The Associated Press “It's been September since the last time I've been out." That, he says, is “a long time for me.”

The tour kicks off in Los Angeles at the Hollywood Bowl on May 29 and ends at Wolf Trap Filene Center in Vienna, Virginia, on Sept. 15.

The tour hits Salt Lake City; Morrison, Colorado; Kansas City, Missouri; St. Louis; Highland Park, Illinois; Noblesville, Indiana; Nashville, Tennessee; North Little Rock, Arkansas; Thackerville, Oklahoma; Clarkston, Michigan; Darien Center, New York; Syracuse, New York; Bethel Woods, New York; Bangor, Maine; Gilford, New Hampshire; Lenox, Massachusetts; Philadelphia; Wantagh, New York; Saratoga Springs, New York; Bridgeport, Connecticut; Burgettstown, Pennsylvania, and Boston.

This interview has been edited for clarity and brevity.

TAYLOR: The audience, always. The event itself has never failed to supply the motivation and the energy that is required. You know, it’s very compelling to go a great distance and to find a crowd of people that have bought tickets to come see me and the band play again.

Over time, it’s something you learn to do, to keep your strength up, keep your health... also, I don’t do more than a couple of shows in a row without a day off. I’ll do more than that if I’m in one town, but generally speaking, we pace ourselves now.

TAYLOR: I definitely burned myself out a few times.

TAYLOR: I was trying to figure out whether or not it was 50 years or 50 shows that I’ve been playing at Tanglewood, and it turns out it’s both. 1974 was the first time I played there. It averages out to one a year, although at one point we skipped a whole decade.

We had an episode where one of my crew members, in a fit of pique, drove a truck across the Tanglewood lawn and made a mess of it. He was told he had to get the truck off the lawn because it had been raining and it was making an imprint on it. As we were breaking down after the show, he was driving out there to unload the mixing board and stuff. But he put it in reverse, stomped the accelerator and tore a great trough, a great furrow in the Tanglewood lawn. And they never asked me back. It was only when (my wife) Kim came along and resurrected my reputation that I was allowed to come back.

It’s been a great privilege... It's turned out to be a great thing for me, to play Tanglewood every year.

TAYLOR: This is the time of life when you feel like you ought to get in touch with a lawyer and make a will. You see, the older generation, the people that were your friends and mentors, sort of checking out one by one. It is a time when you feel as though things are being summed up a little bit and you start thinking about, the whole thing as a totality. You know, a line from one of my songs, “Copperline,” is “I'm only living 'til the end of the week,” and I think that really does describe me.

But, you know, it is a period of time when you look back and see the whole thing, it's important not to internalize that idea of being a big deal. It's important to focus on what it is that you do — and that thing as a craft that allows you to have your place in the world.

TAYLOR: As time goes by, I think it’s wrong for people to judge other people and even to evaluate them, and yet it’s something we constantly do, and we can’t avoid it. But we should mitigate it by knowing that when we judge someone, we’ve got it wrong. They know who they are, and not we. But, of course, in a million ways, all day long, we evaluate ourselves and other people and it’s complicated. It's not up to me determine what my ultimate position in popular culture turns out to be 50 years from now.

TAYLOR: I see people selling the rights to their catalogs. That baby boom generation musical expression, which happened between '62 and 1980, that sort of 20 years of amazing activity that happened, I was in the center of it and actually got my start in London with the Beatles. So, I had a real sense of this generational phenomenon that the music that I was part of, was a big feature in the landscape and we were communicating to each other. We invented a kind of music there. It was predicted by rhythm and blues and folk music. And those two resurgences sort of fueled it and supplied it. It was big.

You see those people now, being in my sort of age group generally, selling the rights to their catalogs and sort of evaluating what their life’s output was worth. You know, David Bowie ’s went for like 250 million. I think (Bob) Dylan... got like 300 million... (Bruce) Springsteen is said to have gotten more than that, like half a billion or something. It’s sort of like monopoly money.

TAYLOR: I feel like I’ve got another one in me — sounds like an egg — but I'm writing a little bit.

And as to what I hope people take away from live performances, I hope they take away a sense of connection. You know, live music — the thing that I’m so attached to about it, why I can’t let it go — is that there’s something (that) happens when people come together for a couple of hours for two or three hours and have a sort of collective experience.

It's indescribable. You prepare for it, but when it happens, it’s spontaneous and, in a way, unique. I love it when that happens, and it does most nights.

TAYLOR: If someone comes sniffing around, I'll get in touch.

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Bruce Springsteen’s Tour Resumption Is Its Own Kind of Promised Land: Concert Review

An early tour stop in San Diego, on the way to his rescheduled L.A. dates in April, shows that for Springsteen, singing about the souls of the departed and throwing a party for the living are easily balanced twin tasks.

By Chris Willman

Chris Willman

Senior Music Writer and Chief Music Critic

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SAN DIEGO, CALIFORNIA - MARCH 25: Bruce Springsteen (R) and Max Weinberg of Bruce Springsteen and the E Street Band perform on stage at Pechanga Arena on March 25, 2024 in San Diego, California. (Photo by Daniel Knighton/Getty Images)

Most of the really essential rituals of American life — religious observances; Halloween and New Year’s Eve; opening day in baseball — are cyclical, endlessly repeatable experiences, independent from individuals or cults of personality. But to that list, a lot of us would add the ritual, stretching past 50 years now, of Bruce Springsteen in concert. And as the world found out last year, that guy can take a sick day. So, as if Springsteen tours weren’t already irregular enough, the fresh resumption of this U.S. tour, after a six-month timeout, has an extra resonance.

At San Diego’s Pechanga Arena Monday night, Springsteen and the E Street Band were three gigs into a restart of the tour that was so rudely interrupted by his peptic ulcer last September, after an opening (or reopening) night March 19 in Phoenix, followed by a show in Las Vegas March 22. Some of these audiences have felt the paucity of Springsteen concerts in the past, not future uncertainty. Springsteen hadn’t played Vegas since 2002 when he finally returned last week. In San Diego, the gap had been mysteriously far longer: He had last been in the city to do a show in… could it have been?… 1981.

Springsteen didn’t directly bring up his illness or the postponement of the last leg of the tour when he talked to the audience at the Pechanga Arena, but he did address the absence that’d been on so many local fans’ minds over the last four decades.

Why hadn’t he gotten back to San Diego sooner? Maybe because he felt it’d be too on-the-nose, having name-checked the city so famously in “Rosalita (Come Out Tonight)”? Naturally, when that nearly eight-minute rouser did come up as an encore number Sunday, it got some special treatment for the occasion. Standing on the ramp that extended into the GA section with members of his band, Springsteen halted the song for a 21-second pause following the line “I know a pretty little place in Southern California, down San Diego way,” which, as a prompt for 13,500 people to go wild, probably could been extended a couple of minutes longer.

It’s a little bit surprising that Springsteen had not been back sooner just in that his last SD gig back in 1981 had also been at this same facility, then known as the San Diego Sports Arena. And the place maintains just a little bit of the old-school feel of his former favorite locale further north, the L.A. Sports Arena, which he had dubbed “the dump that jumps” before closing it down with a series of final concerts there in 2016. Speaking of things that will all seem funny, it may seem odd to point out the artist’s nostalgia for something as unsentimental as arenas, but he will tend to play the older of those venues when he’s coming to a city with more than one, as he did in San Diego and will when he shortly hits Inglewood’s Forum (his distaste for Staples/Crypto.com Arena being legendary). He’s got a thing for things that have escaped the wrecking ball; the Pechanga Arena has been upgraded above dump status, but on a night like this, it did jump, too.

The faithful haven’t been sure whether to call his 2024 tour (which has a lot of rescheduled North American shows bookending a long summer trip to Europe) a continuation of the aborted 2023 U.S. tour, or something that counts as a new one. It does affect how songs are counted or not counted as “tour premieres” in the inevitable collation of setlists — which really boils it down to an especially first-world problem. The artist himself had a point of view on that when asked about it on the E Street Radio satelite channel earlier this month, saying, “There will be some things from last year’s tour that will hold over; some of my basic themes of mortality and life and those things, you know, I’m going to keep set… (But) I think I’m gonna move around the other parts of the set a lot more, so there’ll be a much wider song selection going on. So we’re looking at it like it’s a little bit of the old tour, but we’re looking at it like a new tour.”

Looking at what’s gone from last year, “Kitty’s Back” is no longer back, and “Glory Days” and “Out in the Street” are also out, along with semi-regular staples like “The E Street Shuffle,” “Candy’s Room” and “Johnny 99.” But since the show still clocks in at a very healthy 27 songs, spread out over about two hours and 40 minutes, additions are in place, like his 1973 debut album’s “Spirit in the Night,” which has been played at all three shows so far, after only getting two plays total in all of 2022. His cover of the Ben E. King/Aretha Franklin classic “Don’t Play That Song (You Lied)” (as heard on his soul covers abum two years ago) also looks like it may be a nighty regular now, after having been bumped out of the set after a handful of appearances in Feb. 2022. The change-ups peculiar to San Diego included his first performance of “My City of Ruins” since 2017, and the revival of his “Detroit Medley,” which was performed only three times last year. “Death to My Hometown” and, in the encore, “Bobby Jean” also made what have recently counted as rare appearances.

What remains rock-solid from last year are the vast majority of songs a casual fan might be coming to hear, mostly from the 1973-84 era, although service is also paid to the “Rising” and “Wrecking Ball” albums and the two most recent releases that he is ostensibly touring behind, “Letter to You” and “Only the Strong Survive.” Songs that would be set-closers for anyone else are thrown in almost in random spots, until it becomes a sheer onslaught of classics. Rest assured that the show’s final stretch will allow everyone to resume ongoing internal debate over whether “Born to Run” is the quintessential rock song of all time, or whether that honor is rightly reserved by “Thunder Road.” (Team “Thunder,” here, after 49 years of consideration.)

It counts as a thunderously upbeat best-of show, in other words. But it’s an exhilarating greatest-hits show sandwiched within momentarily sobering ruminatings about death, and death’s effect on the living. Which is quite a hoagy.

Also still a staple of the show from last year is another one of those recent songs about remembering missing loved ones, “I’ll See You in My Dreams,” as a final benediction after the celebratory encore material.

On top of this, Springsteen has made some other additions to the show, whether for the entirety of the remaining tour or as recurring one-offs, that further reinforce this theme. For instance, the show no longer begins every night with “No Surrender” (which is still in the set, pushed back a bit); he’s replaced it with the brooding “Lonesome Day,” one of the 9/11-prompted songs from “The Rising.” As he thought about what kind of messaging to start these new concerts with, maybe Springsteen’s bout with illness made him realize that we all have to succumb to some surrendering now and again. More likely, it has something to do with providing an opening bookend to “I’ll See You in My Dreams” at the beginning — starting the show with an anxious response to death at the outset, so that his calming thoughts about it at the end feel like the conclusion to some kind of story.

In adding “My City of Ruins” to the set for the first time in seven years, Springsteen also used that as a bed for more of these thoughts, on top of full-band intros, extending that gospel-like ballad to 11 minutes in length — less than a third of the way into the running time. “I plan on sending you home with your feet hurting, your ass hurting, your sexual organs stimulated,” Springsteen promised during the “Ruins” spoken interlude, before getting down to business about having “a story to tell. It’s a story about yesterday and abiout tonight and hopefully tomorrow. It’s about hellos and goodbyes. It’s about the things that leave us and the things that remain.” After introducing the extended band (E Street Horns and E Street Choir included), he asked, “Are we missing anybody?” The crowd roared with implicit Clarence Clemons/Danny Federici appreciation. “Everybody’s missing somebody at this point,” he affirmed. “I don’t know where we go when this is all over, but I know where we remain. The only thing I can guarantee tonight is, if you’re here and we’re here, then they’re here.”

At a sprightly 74, Springsteen doesn’t come off as as a concert marathon-runner at 74? Not much noticeably different from when he wrapped up his last world tour with the E Street Band at the very beginning of 2017, let alone from what he was doing when the 2023 tour was in full swing — except that his crowd-surfing days may finally be past. He’s still in fighting trim, although he was trimmed out Monday night in a formal vest and necktie, which he kept tucked into a denim shirt. (Closeups on the overhead screen are effective now not just for seeing veins bulging, but for verification that Bruce ties a very neat knot.) His fashionable look aside, there was no standing on formality when it came to his trademark swagger or full-throated vocals, which still find him aspiring to be a 1960s R&B shouter. It wasn’t by accident that Springsteen promised to “bring the joyous power of rock and soul music into your life,” and he could have been counted as successful on all counts even if he hadn’t covered the Detroit Medley, an Aretha/Ben E. King hit and a post-Lionel Richie Commodores hit. (The latter song would be “Nightshift,” a 1980s-era tribute to Marvin Gaye and Jackie Wilson that, in Springsteen’s hands, is now a salute to a salute.)

The stage for this tour is almost hilariously basic, if you’ve been to any major superstar outings lately, and witnessed the bizarre shapes of the ramps that extend into SRO floors and practically twist around each other. Springsteen’s ramp doesn’t look to extend much more more than 15 feet into the audience, as if to dare the incoming audience to imagine how much he can do with just a minimum of thrust staging. (Honestly, we’re trying to keep this as clean as we can here.) He spent plenty of time on that modest extension, which allows plenty of room for camera angles catching the surrounding crowd, and for occasional visits from mobile band members and backup singers, without having to go so far out into the crowd that it looks like he’s, you know, overcompensating.

As is tradition, he and some of his traveling accompanists occasionally visited the rear riser, which now holds a five-man horn section, to provide eye candy for the audience watching from behind the stage. Everyone turning around to give the folks in the so-called cheap seats a thrill is especially nice when it’s timed to one of his great key changes, as it was in the instrumental bridge of the Pogues-like “Death to My Hometown.”

And the lighting — of the audience, that is. Veterans of Springsteen tours are accustomed to the house lights being fully up during encores of “Born to Run” in the past. But by now, there’s a design to the show that has the lights on the audience being at about half-mast for much of the concert, albeit often in different hues of yellow or red. There’s a directive inherent in not ever keeping the audience itself in a blackout for long, a message that they’re part of the show, too. It’s a little bit corny when you say it out loud, but it’s a nice touch to deliver that message as subliminally and artfully as Springsteen’s low-frills production does. All that mood-lighting washing over the crowd was useful for anyone who wanted to look around and be assured they weren’t the only ones getting misty-eyed over the notion that it’s still no sin to be glad we’re alive. (Even if the badlands never stopped fucking us over. Sing louder! This is not the show where people will get in your face about that.)

Meanwhile, here’s an advisory for anyone coming to the tour down the road: plan for traffic and invest in a watch. The tickets say 7:30 p.m., and so far on this leg, that is exactly the minute the band walks on stage. The ultra-prompt start allows Springsteen and company to prove it for what still feels like all night, yet get everyone home before the witching hour. It’s true: a benevolent boss is always looking out for everyone’s health.

Bruce Springsteen and the E Street Band setlist, Pechanga Arena, San Diego, March 25, 2024:

Lonesome Day

Prove It All Night

No Surrender

Death to My Hometown

Letter to You

The Promised Land

My City of Ruins

Spirit in the Night

Don’t Play That Song (Ben E. King cover)

Nightshift (Commodores coer)

Mary’s Place

Last Man Standing

Backstreets

Because the Night

She’s the One

Wrecking Ball

Thunder Road

Detroit Medley

Born to Run

Rosalita (Come Out Tonight)

Dancing in the Dark

Tenth Avenue Freeze-Out

I’ll See You in My Dreams

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