Bruce Springsteen – Inyo Review

Understated sound has never been the speciality of Bruce Springsteen. None of his albums has The Boss sounding unsure of himself. There is a purpose to every one of them. Inyo is one of The Boss’s softest-sounding albums. It is not because he lacks confidence in this material but because the core message, a tribute to the soldaderas, Mexican women who fought for their independence, needs a soft touch. Sincerity rides through Inyo, a fascinating album which has Springsteen moved by his motorcycle rides through California. This is the record that was meant to follow The Ghost of Tom Joad. Springsteen certainly writes and performs with a similar-sounding style to his 1995 release. That does not mean fans of The Ghost of Tom Joad will be placated by Inyo. The Tracks II: The Lost Albums addition relies more on exploring the music fundamentals of another country, of different lives, than on Springsteen’s hallmarks. 

Early Inyo tracks like Inyo and Indian Town are keen to strip the instrumental showiness from The Boss. He sounds naked without the rocking guitar, The E Street Band nowhere to be found as he casts a glance over an ever-evolving world. Instead, he pairs himself with delicate, barely audible acoustic efforts and mariachi music. Experimental, absolutely. Great listening, too. That is all you can ask for. Lead single Adelita was more than a hint at what Springsteen was aiming for on this release. Roaming through that uglier history of America, of warfare and conflict, is an inspiring moment for Springsteen. He takes particular interest in the border crossing and can be heard calling for more to be done in protecting the generations of people who have struggled. Adelita does just that, though its focus is more on the warring factions. The Aztec Dance is steady Springsteen songwriting, but follow-up The Lost Charro is unlike anything The Boss has ever done.  

Those wild changes in form are what make Inyo such a fascinating listen. Beyond the usual qualities which come from Springsteen’s writing, performance, and instrumentation, he sounds keen to chase the fundamentals of a new genre. The same occurred on Somewhere North of Nashville, though Inyo has him seek out the soulful country voice his peers adopted. The warbling tone of Scott Walker can be heard on the mariachi-backed The Lost Charro. Startling, soft flourishes from Springsteen are crucial here. El Jardinero (Upon the Death of Ramona) feels like a tangible link to the Bob Dylan track, To Ramona. A return to the south is expanded on. A life is fleshed out. Springsteen sounds hopeful about the relationship heard in the Another Side of Bob Dylan track. Those crying tones on the original are expanded on, visits organised and followed through with on El Jardinero (Upon the Death of Ramona).  

Inyo is further proof of Tracks II: The Lost Albums being not just for diehard listeners, but the passing fan. When I Build My Beautiful House (no relation to the one David Byrne was lost in during Once in a Lifetime) could easily slot into the current live sets. Here is Springsteen exploring the love of his country through the history of another. Inyo is further proof of the critical nature of The Boss as an artist who may be infatuated with his place of origin, but is also aware of its struggles, of what it can do better. Someone who truly loves their country can point out what must improve, and that is exactly what he has done over the last few years. Inyo is further stock to that, a charming and often moving addition to his discography.