Bruce Springsteen – We Shall Overcome: The Seeger Sessions Review

Pete Seeger’s influence on many of the United States’ finest artists is in no doubt, but is perhaps not as known as it should be. From Bruce Springsteen to Bob Dylan, his openness and heartfelt honesty as an artist defined a generation indebted to his folk style. The Boss may not have realised it until decades on from his hits, but the influence, the similarity, was there. Springsteen and Seeger would perform together at the inauguration of Barack Obama, and We Shall Overcome: The Seeger Sessions itself feels more of a footnote. It is the chance for Springsteen, backed by his greatest hits already and in no need of them here, to pay tribute to an artist who had such a monumental influence on his work. It explains the sparse crowds for the tour to follow the release of this album, overlooked, underappreciated, and a fine experience with Springsteen as both songwriter and performer. Where his voice, like that of Dylan or Johnny Cash, can take a song, his own or otherwise, is charted here. 

We Shall Overcome: The Seeger Sessions and the tour to follow are brilliant examples of Springsteen as a socially conscious artist. The big band feel that Springsteen so often deploys on his albums is felt here, too, but with some welcome arrangement changes. A gruffer vocal style from The Boss gives the likes of Jesse James that extra grit, the grounded thrills of contemporary country determination. We Shall Overcome: The Seeger Sessions successfully separates the rocker tone Springsteen is best known for and the artist at hand. He is more than an electric guitar, and he finds a soulful push with this collection. Mrs. McGrath does what no Springsteen song had done before, putting his vocal strength and understanding for pace and tone to the test. He usually has a guitar in hand to balance those thrills, but by using this big band behind him, he finds time to innovate once more. It would be no use if Springsteen were not delivering a project which expands on these songs from the American songbook.  

What We Shall Overcome becomes, though, is a waiting game. When will Springsteen turn these tests into a moment of real understanding? He hints at the truth and beauty of the classic folk structure, of the overlapping instrumentals and the crash of percussion on a few early songs, but it is not until O Mary Don’t You Weep No More that the work finds its place. Blisteringly cool instrumentals and the backing vocalists underscoring Springsteen as vocal lead is a wonderful pairing. Gruff performances for John Henry are an obvious indicator of what to expect from the rest of Springsteen on the We Shall Overcome sessions. A hearty, grounded voice with plenty of brass and percussion thrill to it, but make note of the strings on a perfect cover of Eyes on the Prize. Springsteen captures a raw and brilliant beauty with these covers.  

Moments of pure brilliance from The Boss come and go. Some truly touching moments throughout as Springsteen lays down his love for the folk songs of old. Seeger’s influence is in no doubt here as the charming orchestration, the role of Springsteen as performer and conductor, takes its place. There is no desire to overhaul these songs for the modern world, they remain as relevant as when they were first written. Understanding that is the reason Springsteen thrives here, the chance to hear his fresh influences. Even if Seeger did not affect his earliest, broadest works directly, the subconscious ties between the two artists, the want for a better world, is what carries the connection. We Shall Overcome hears it hard at work, a delightful listen which does not lose the heart of its message. Pay Me Your Money Down and the songs to follow it are a tremendous example of Springsteen as a voice for the voiceless, as he always has been, but with fresh context for his role.