Under the Superdome lights in New Orleans, I’m living out a dream 40 years in the making. As a kid, aloft on my father’s shoulders, I saw Bruce Springsteen and the E Street Band when they were the biggest band in the universe. Now, I’m the one playing guitar in a stadium for the first time with full production — thousands of people, cameras, lights — ready to hit the opening chord of “Born to Run.”
Then, my D string snaps.
My spare set is at the hotel. There’s no time for a fix. The click track in my headphones counts the song in:
One, two, three, four.
I lift the broken string above my head and spin 180 degrees, but I do it knowing there’s no guitar tech to sprint toward me or a backup instrument that will magically materialize. Instead, I see a sea of guitarists — 50 of them in my section alone — about to hit the song’s opening E chord. We’re just one slice of a band made up of 1,000 musicians from all over the world, gathered to live out our shared fantasy as part of Rockin’1000, billed as “The Biggest Band on Earth,” making its U.S. debut at the house of the Saints.
From a few rows back on my right another guitarist makes eye contact, skips the first A chord of the pre-chorus, and frisbees a pack of nickel-wound DR Pure Blues through the air. I catch them, drop to the floor, and start restringing my backlined Telecaster.
After all, as a club-level musician, when am I ever going to get another chance to play this riff — to this many people — in a stadium?
That question is more or less the engine behind Rockin’1000, an extremely ambitious project designed to make the arena-sized dreams of amateur and semi-pro musicians come true in real time. The shows are full-blown stadium spectacles built around classic rock staples, from “Born to Be Wild” to “Seven Nation Army,” the kind of songs meant to be shouted by strangers in unison — performed without irony or cool-guy detachment — for audiences ready for a little wholesome, communal joy.
Jeff Miller
Courtesy of Rockin’1000
The project’s origin story is just as earnest. In 2015, founder Fabio Zaffagnini had a wild idea: He wanted the Foo Fighters to play in his hometown of Cesena, Italy. So he crowdfunded a ridiculous stunt, assembling roughly 1,000 local musicians to perform “Learn to Fly” together in an open field. The video went viral. Dave Grohl loved it. The Foo Fighters came to town. Investors followed. And over the past decade, Rockin’1000 has grown into a global operation, building an online community of musicians and staging massive concerts in spots like Italy, Brazil, Portugal, France, and now, the United States.
Prospective players audition by submitting videos. If accepted, they gain access to an app stocked with sheet music, tablature, rehearsal videos from on-staff “gurus,” and — crucially — click tracks that keep a football field’s worth of musicians locked in time.
The magic is in the organization. Over two all-day rehearsal marathons in New Orleans, I met my fellow travelers in rock — people who didn’t just want to play well, but to play together well, despite wildly different experience levels.
To my right, in the West Left guitar section, were a group of French guys in their fifties who’d turned Rockin’1000 into a yearly excuse for a guys’ trip. Behind me was Dani, a twentysomething New Orleans local who’d been playing guitar for barely two years; she discovered the project through a fantasy-camp program, and the Superdome was effectively her first real gig. Just in front of me stood Collier Cash, a young influencer and stadium-show veteran, famously pulled onstage by Grohl at a Foo Fighters concert when he was eight years old and asked to play “Enter Sandman” — which he absolutely shredded. To my left were the Italians, who exuded reserved cool while on their first U.S. jaunt; they told me broken-English stories of Bourbon Street debauchery in between songs during two days of pre-show marathon rehearsal sessions.
And then there was me, somewhere in the middle. I’ve been playing guitar since I was 12, and my band, Black Crystal Wolf Kids, has become one of the premier party-rock bands in Los Angeles, playing clubs, festivals, and corporate events regularly. But stadiums? At 46, that felt out of reach — until Rockin’1000 came calling. It was an easy “yes!”
Each drummer pounding to our right had a similar story, as did the bassists pogoing beside them and the singers stationed on the circular stage at midfield. Fifteen thousand paying fans filled the stands — not a sellout, but more than enough energy to make the place feel alive.
Rocking’1000 New Orleans
Tyler Kaufman
I made the final adjustments to the string, stood up, and rejoined the rock orchestra just in time for the last whoa-oh-oh-oh, throwing in a windmill and a jump on the final chord. I glanced up and locked eyes with a man in his forties and a little girl — maybe herself five years old — in the front row of the audience, standing and singing along at the top of their lungs to the end of “Born to Run.” I assumed she was his daughter. I wondered if this might be her first stadium rock show.
For her, the power of music wasn’t Bruce Springsteen. It was a thousand ordinary people who had each other’s backs, turning his song into something even larger — an unexpected moment of catharsis, unity, and joy, at a time when we could all use more of it.
And to that little girl, the biggest band on Earth had officially become the biggest band in the universe.
