Inevitably reflective in the twilight years of his career, Bruce Springsteen works the pop-soul genre well. His previous records, Western Stars and Letter to You symbolised that new phase with great clarity and obvious confidence. They were typical genre-set pieces from Springsteen, who now finds himself exploring a new genre entirely. His voice has always had a soulful quality to it, his earliest guitar music records find that, but this may be the first, active decision to focus on the voice, rather than the instrumentals. Both are still prevalent in Nightshift, the second single of the upcoming cover album Only the Strong Survive, and give real clarity to where Springsteen sees his career.
Sweet songs coming down, explored so beautifully here on this very laid-back bit of uplifting quality. Paired with the light strokes of Do I Love You (Indeed I Do) and it would appear Springsteen is onto a winner. A cool shake of an opening lends itself lightly to Let it Bleed, and from there Springsteen pounces on the opportunity to make something new. His best works always relied on smart wordplay, from the likes of Thunder Road and the personalisation of guitar to Dancing in the Dark and the wistful memories associated with it. Nightshift is not at that calibre, not yet, anyway. Legacy will play its part in the almost crooner-like charms of Nightshift and, presumably, the rest of the album that comes around it. Smooth and lighter guitar riffs have remnants of Bob Dylan’s forgotten works, but there is a sincerity Springsteen relies on here lacking in those.
Recalling the ballad of Marvin and the need for a heart in music is a fitting approach. Springsteen is the heart of heartland rock. Nightshift may as well be an autobiographical piece, a piece that understands the legacy of his music and the impact of strong wordplay. Although Nightshift does not have that quality to it, what it does have is a rare reflection from a legendary musician adapting the charms of a Commodores original. Proudly displaying both a love for his influences and a nod of thanks to those that found inspiration in his work, Springsteen provides real light on how music can lift through hard times. That is an angle not at all unique, but it is one that is rarely sung of. To actually contemplate the personal connection a person can have to a track, and more importantly, why it comes about. Nightshift is another gift from Springsteen, a delicate track that feels sure of itself and the new steps taken.
Seeing a legend of the art try his hand at something completely new is as surprising as it is exciting. This is not the anthemic rock styling Springsteen would so often create. This is a sobering and intense experience that highlights, if anything, how strong a lyricist Springsteen is. It is surprising that such a contribution has not been the focal point of his previous works, not entirely, anyway. Symbolic entrenchments of what the eponymous Nightshift really is and a crooning Springsteen that works more with piano and soulful backing from an orchestra of instruments rather than a guitar strapped around him. Without it, he feels unarmed, susceptible to some new danger. Springsteen puts himself into new territory and finds comfort in the rush of energy that comes from it.
Read Ewan Gleadow’s full review of Bruce Springsteen’s Only the Strong Survive here.
