Live From Minneapolis [2026] (w/ The E Street Band)
Open All Night (Live at Count Basie Theatre, Red Bank, NJ)
Dancing In the Dark
Streets Of Philadelphia
Tougher Than the Rest
Born in the U.S.A.
I'm On Fire
Born To Run
Glory Days
Human Touch
Brilliant Disguise
Hungry Heart
Radio Nowhere
Tunnel of Love
Santa Claus Is Coming To Town
Better Days
War
Leap Of Faith
The Rising
Lonesome Day
Lucky Town
57 Channels [And Nothin' On]
Spare Parts
American Beauty
One Step Up (Official Video)
Waitin' On A Sunny Day (Official Video)
We Take Care Of Our Own (Official Video)
If I Should Fall Behind (Official Video)
My Hometown (Official Video)
RIGHT NOW
What’s happening.
NEWS
Springsteen Sings, Strums, and Stirs Political Pot—Fans May Need Earplugs!
Bruce Springsteen sticks to his guns, turning his Land of Hope and Dreams Tour into a reflection of America's political climate. His recent tour drums up bristling opinions as he fuses decades of music with political commentary.
The U.S. run includes classics like "Born in the U.S.A.," emphasizing the disconnect between perceived and intended messages, sandwiched between songs like "War" and "Death to My Hometown." He accepts that his stance might alienate Trump-supporting fans and shrugs it off, saying he always finds his audience.
Source: Billboard – Published on September 11, 2026
Musicians Back Springsteen as He Strums Up Unity with Anti-Trump Chords
In a bold declaration of unity, the American Federation of Musicians stands with Bruce Springsteen, raising their collective voice against Trump. Each chapter of this enduring brotherhood articulates its unwavering stand.
Springsteen, far beyond a consummate artist, evolves into a beacon for truth. His seminal work, "Born to Run," echoes his stance. Encouraging musicians' freedom rings at the core of this act.
Springsteen pens protest dirge "Streets of Minneapolis" in 48-hour sprint
Bruce Springsteen unfurls “Streets of Minneapolis,” a dark-toned elegy chronicling the deaths of Renee Good and Alex Pretti, both fatally shot by ICE agents in January. The track pivots between dirge and protest anthem, invoking their names like markers on moral ground zero.
He critiques Trump’s DHS as a “private army,” and dedicates the piece to Minneapolis’ immigrant communities. Recorded in under 48 hours, the song radiates urgency, foregrounding civil dissent with the refrain: “Stay free.”
Source: News | NME – Published on January 28, 2026
Springsteen drops F-bomb on ICE mid-show, hands spotlight to immigrant lawyer
Bruce Springsteen interrupts his Broadway set to express sharp disdain for ICE, quoting Minneapolis’s mayor with an unfiltered “ICE should get the fuck out of Minneapolis.”
He proceeds to dedicate “The Ghost of Tom Joad” to Renee Good, a volunteer lawyer who assists detained immigrants caught in ICE's churn—casting her as the night’s quiet protagonist while tracing the song’s lineage back to Steinbeck’s dislocated Okies and Guthrie’s dusty ballads.
Springsteen OKs Fictional Girlfriend in Gritty ‘Nebraska’ Biopic Rewrite
Writer-director Scott Cooper lifts the curtain on “Deliver Me From Nowhere,” a Bruce Springsteen biopic swirling around the mythos of “Nebraska.” With Springsteen’s approval, Cooper invents a fictional girlfriend to tease out the artist’s emotional core, a move steeped in poetic license.
Springsteen not only greenlights the embellished narrative but engages directly with script drafts. Cooper reveals unsettling silences, grim motel rooms, and creative friction shaping this stripped-down cinematic portrait.
Springsteen cribs from Dylan, Elvis & Orbison—builds Born to Run from fan notes
Bruce Springsteen, more listener than legend, never hides behind mythology. He routinely nods to the trio fueling the grit and grandeur of Born to Run—Bob Dylan, Elvis Presley, and Roy Orbison.
Dylan’s lyrical density, Presley’s stage swagger, and Orbison’s operatic drama each feed the album’s fever-dream Americana. Springsteen crafts ambition from admiration, sculpting borrowed intensity into his own blueprint of rock romanticism.
Springsteen files another solo dispatch—quiet, persistent, and between cycles
Bruce Springsteen wraps up work on a new solo album, adding another chapter to his already extensive recording catalogue. Positioned quietly between his larger creative cycles, this latest effort arrives with the same understated persistence that has marked his non-E-Street excursions.
A third volume of the Tracks box set is in progress, carefully curated from his archives, along with a fresh covers collection. Meanwhile, whispers of a solo tour hover in the background—neither confirmed nor denied, just methodically contemplated.
Springsteen parks “Racing in the Street” at Brian Wilson’s garage one last time
Bruce Springsteen tips his hat to Brian Wilson, calling him the maestro and bidding him farewell with restrained reverence. He credits Wilson's influence as pivotal, admitting candidly that without him, "Racing in the Street" might never have idled into gear.
From Springsteen’s perspective, Wilson’s legacy isn’t just musical—it’s personal, a “lovely lasting debt” etched across the E Street Band’s body of work, paid not with fanfare but acknowledgment.
Springsteen dusts off “Sunday Love,” a forgotten flicker from the Twilight Hours
Bruce Springsteen presents “Sunday Love,” a track excavated from the vaults of his unreleased Twilight Hours album, born during the Western Stars period. Released as the first preview from the forthcoming Tracks II box set, the song resurfaces without ceremony but not without consequence.
Absent from commercial release until now, the track offers a glimpse into a quieter corner of Springsteen’s prolific output, one he chose to let gather dust for nearly a decade.
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