Bruce Springsteen
The Rising

THE REVIEW

It is still frequently debated today whether art holds the same historical significance as politics and economics. There is also an ongoing debate among those within the enormous "agglomeration" of art as to whether painting, sculpture, music, or literature should be placed on different levels of importance. Moreover, it is a usual and highly current subject of controversy to attribute different values to so-called "serious" music and "popular" music. If we were then to label an album and "shelve" it in its belonging sector, we would come across "The Rising" or any other Springsteen album and place it on the shelf of pop music. Since pop simply means popular. And a work that critics describe as popular is inevitably destined to assume secondary importance in the vast sphere of musical art.

To understand where my analysis is headed, it is first necessary to attribute this album its spatial-temporal dimension: the United States, July 2002. That is, a few months after the terrorist attack of September 11th. And it is more important than ever to realize the role and media influence that Springsteen and his musical releases hold in America: of the singer Springsteen who remains (alongside U2) the only performer capable of selling out every appearance. Of the communicator Springsteen capable of influencing, in a way unimaginable here in Italy, the voting intentions of the electorate. Of the celebrator Springsteen and at the same time disillusioned standard-bearer of the American dream. From here, we can deduce the reasons why the importance of this work is not solely represented by the historic reunion of the E-Street Band but above all by the interest in knowing the Boss's perspective regarding the recent events in his America.

And the album is from the very first notes of "Lonesome Day" an encouragement to hold your head high, to take responsibility (the political orientation of the Boss is well-known) and to begin the reconstruction of, above all, the moral fabric of the country. Album permeated with optimism for the future ("The Rising", "Waitin' On A Sunny Day"), with love stories in an America struck in cold blood ("Into The Fire", "Paradise"), and which offers us a very particular surprise: in "Worlds Apart", for the first time in his long career, Bruce takes the sounds of his band outside Western borders, venturing into sober, exciting, chilling Islamic atmospheres. And it is not a random choice.

This album does not contain filler songs.
This album comes with a booklet featuring translations in Italian so anyone can grasp every angle of the author's thoughts.
This album brings to light every single band member in their highest artistic expressiveness since "Darkness On The Edge Of Town".
This album makes you sing, cry, dance, get angry. Yet it makes you reflect since Springsteen draws inspiration from current events, politics, civil society and channels it all into music and words, which is to say, into the art of which he is the expression.

Here is a case where art provides answers to society and in doing so influences it. And this has not happened nearly as often in many years up to this point.