A search for a satisfying musical turn is what Bruce Springsteen provides on Perfect World. The closing album of Tracks II: The Lost Albums is also, seemingly, the most recently archived work. This search for sound brings him to a style which was thrown in the vault because it sounded familiar. There is no escaping the link between this and other efforts from The E Street Band of the last twenty years. But that does not mean Perfect World is not a special moment from this archival release. Arena-ready music has always been the solid core of how The Boss and the Band work. Perfect World is a fascinating listen in this context. It is not as though they have shied away from the marathon-like performances in arenas across the globe. Why shy away from Perfect World, then? It sounds ready to be released. Hopefully it features on stage.
Perfect World would benefit from being played out on stage, not least because these songs are tailor-made for the atmosphere of a stadium show. You can hear those familiar jangles, that uplifting sparkle, on opening song I’m Still Sleeping. All it needs is Stevie Van Zandt yelling “time to wake up,” and you have another back-and-forth to slot in after Tenth Avenue Freeze Out. A proud set of anthemic songs with that joyous twinkle, that is what Springsteen and The E Street Band offer here. Is it the right tone to take when the world is falling apart? Springsteen has never been an escapism artist. He has always tackled the tough tone of the times with a courage and directness that establishes his very best songs as all-time greats. Born in the U.S.A. lasts because its biting criticisms, its clarity in the face of conflict, remain unfortunately relevant. For all the joy and lightness Perfect World offers, the direct challenge of frayed relationships and global crisis feels too simple.
This is not a perfect world, though only in title does Springsteen knock the dangers of life. Those usually biting lyrics are lost in a mix of heavier, stadium-oriented rock and roll. Another Thin Line offers that big band filler sound, a song you slot into the set to give attendees a break between hits. Nothing wrong with that. Some songs need to provide ballast to a hits-heavy set, and Perfect World sounds like a contemporary effort in providing attendees with a fresh set of songs. But there is real heart mixed in there, as always. The Great Depression has the upbeat tempo providing contrast to the title, and a convincing vocal performance from Springsteen makes all the difference here. Heart is what Springsteen can always offer, and for songs like Blind Man, it is all he has.
An incredibly consistent and likeable album, though there does not appear to be a standout moment. Perfect World blurs together as Springsteen and the band touch on the shortcomings of world leaders, individuals, and the systems we struggle under. There is not one comment, but a larger statement, which reduces the importance of musical variety in the hope of highlighting a powerful message. It works. Lead single Rain in the River certainly provides a reason to believe in the future. A simple but certain rock and roll song where the impressive moments come not from playing, but the call to action. Perfect World is filled with those moments and offers a sincerity often found in the very best of The Boss’ works. Here is no exception, with the likes of If I Could Only Be Your Lover and You Lifted Me Up finding the balance between sentimentality and fundamentally strong instrumentals.
