Discovering the Poetic Depths in Bruce Springsteen’s Music

For years, I regarded Bruce Springsteen as a fascinating figure, especially in his recent role as a populist bridging his own political views with those of his significant MAGA audience. However, a public exchange last spring, where former President Trump dismissed Springsteen as "overrated" and lacking talent, made me confront a surprising truth: I had never truly engaged with Springsteen’s music. I must admit, I simply didn’t understand it.

This realization came up during a conversation with a dedicated Springsteen enthusiast at a Catskills bungalow community I visit annually. He shared a playlist of essential Springsteen tracks, which I committed to exploring.

I approached this listening exercise with deliberate attention, following my personal rule that it takes about seven listens to genuinely grasp a song. Thanks to being on vacation, I had the time to immerse myself fully in songs like "Rosalita," "Prove It All Night," "Brilliant Disguise," "The River," "Spirit in the Night," "The Promised Land," "Backstreets," "Badlands," "Darkness on the Edge of Town," "The Rising," "New York City Serenade," and the album "Born to Run."

While the music was engaging, I found myself most captivated by the lyrics. This was where I had erred for so long—expecting these songs to function primarily as traditional melodies akin to classical lieder. Instead, Springsteen’s creations reveal themselves as poetry set to music. This insight not only deepened my understanding of Springsteen but also shed light on a broader American cultural phenomenon.

Musically, there are standout moments worth noting. For instance, Clarence Clemons’s renowned saxophone solo on "Jungleland" is extraordinary. Beginning abruptly around the four-minute mark, his gospel-inspired wail transitions the song unexpectedly from C major to E flat, creating a vivid shift that feels as transformative as the color transition in the film "The Wizard of Oz."

Yet, such musical highlights are exceptions rather than the rule. Even the music blogger Michael Miller describes "Jungleland" as "pure rock and roll poetry," emphasizing the lyrical craftsmanship.

In the HBO Max documentary "Billy Joel: And So It Goes," Springsteen reflects on their differing musical roots, noting that while he identifies more with New Jersey’s folk rock and roll tradition, Billy Joel’s New York background, steeped in Broadway and Tin Pan Alley, gives Joel’s melodies a distinct advantage. Still, Springsteen’s point extends beyond melody—he emphasizes their divergent artistic aims.

Springsteen’s foremost legacy lies in his poetry. His widespread popularity challenges the outdated notion that Americans lack appreciation for poetry. Earlier, I argued that Black Americans live poetry through hip-hop; now, I recognize that Springsteen’s lyrical works reveal another dimension of America’s poetic taste.

Consider this stanza from "Thunder Road" as an example of his poetic style.

His use of rhyme is spontaneous rather than mechanical, much like contemporary poetry. The lyrics convey a situation with vivid emotional detail, even finding warmth in the less flattering news that the song’s subject isn’t conventionally beautiful. His accurate portrayal of colloquial speech echoes the precision of writer Elmore Leonard in capturing everyday English rhythms.

It’s important to clarify that Springsteen’s fans do value the musicality of his work. Among my circle of admirers is a cellist who equally treasures the melodic and harmonic complexity of Burt Bacharach. My own preferences lean toward intricate musical arrangements, akin to those of Steely Dan, which may explain my initial hesitation toward Springsteen’s style.

This deep dive into Springsteen’s catalog has taught me that the rarity of poetry appreciation on the page in America doesn’t reflect a lack of love for verse. Rather, popular musicians fulfill this role today, much as poets like Edna St. Vincent Millay and Robert Lowell did in the past. Artists such as Taylor Swift also fit this mold for many listeners over 40, including myself. In Springsteen’s music, I hear poetry first, with the musical accompaniment serving to enhance its delivery—revealing an enduring American passion for poetic expression.