Bruce Springsteen's 'Western Stars' - Album Review

When it comes to great all-American singer-songwriters, there are few better than Bruce Springsteen. From his humble New Jersey beginnings and his folky 1973 debut album Greetings from Asbury Park, N.J., through stadium rock showmanship in the 1980s, to his more 'elder stateman-esque' modern status - Springsteen has remained a vital and relevant force in music. While he is more well known among the general public for his raw-sounding garage rock sound, featuring his ever-present backing band the E Street Band, fans of his will also know of his extensive catalogue of more introspective and stripped-back songwriting. While some of his sparser songs have ended up on some of his most well-known albums, often providing a chance of pace from the barrelling rock 'n' roll that Springsteen has built his career on, throughout the years he has released a number of albums that focus on this more stripped-back singer-songwriter approach. 1982's Nebraska was the first album that he released of his nature, with many of the songs featuring Springsteen alone - singing along with his guitar and keyboard backing. Nebraska was essentially a collection of demos, but it became his first true 'solo' album. The E Street Band, either alone or augmented with a number of other musicians, have played on the majority of Springsteen's albums over the years - and are a big part of his classic sound. Who can imagine Springsteen without Roy Bittan's piano backing him, or Steven Van Zandt's abrasive guitar rhythms? For the most part that is a hard thing to imagine, but occasionally Springsteen likes to step away from the big band confines and write songs for a much simpler arrangement. Recently, it seems that Springsteen has been revelling in simpler arrangements. His lengthy and award-winning Springsteen on Broadway show saw him perform night after night at the Walter Kerr Theatre in New York City - a show which featured Springsteen, a guitar, a piano, and his songs. It is clear that this run of shows has influenced his recent songwriting and was probably the driving force behind his latest studio album Western Stars, which was released last month. Western Stars is Springsteen's ninteenth studio album, and first album of all new material since 2012's Wrecking Ball which was a strong modern Springsteen album. 2014's High Hopes (which I reviewed here) was also very enjoyable, but was largely a collection of outtakes, re-recorded songs, and covers - which saw some loved songs finally find themselves a proper home. It was not a true follow up to Wrecking Ball however, and that is what Western Stars is - although stylistically the albums are very different. Wrecking Ball is quite a rocking album, whereas Western Stars is the latest of Springsteen's 'solo' albums - with his voice and lyrics pushed to the fore while lush, but fairly sparse, musical arrangements surround him.

The opening track Hitch Hikin' really personifies the album's sparse nature. Other songs here have a grander sound, but much of the album follows the blueprint that this starting number sets. Much of the song sees Springsteen singing along to a gentle keyboard and guitar backing - allowing his trademark lyrical delivery to shine. I prefer Springsteen when he turns everything up to eleven, but his voice really does suit this gentler type of songwriting. His voice really has not changed much over the years either, and his rough-around-the-edge style sounds as good now as it did in the 1970s. His knack for telling a good story has not diminished either, and this tale of different people who offer a hitch hiker a lift is the perfect opening piece for the album - all while a hypnotic keyboard and guitar melody swirl around his voice. The Wayfarer features a prominent acoustic guitar chug throughout, while former E Streeter David Sancious adds some gentle piano harmonies. As Springsteen sings, the song really starts to build around him. His guitar and Sancious' piano melodies are a constant force, but subtle strings, distant drums, and mournful horns all slowly join the fray to help the song grow beyond its humble beginnings. Many of the melodies here, particularly those played by the horn section towards the end of the piece, sound like classic Springsteen lines - and I can imagine this song fitting nicely into an E Street Band live set sometime in the future. Another 'fuller' piece in Tucson Train follows, which is one of the album's lead singles. Gunnar Olsen's hollow drumming drives the piece, while a catchy string melody provides a hook that acts as a bit of chorus. There is a bit more of a guitar presence here too, with country-esque electric guitar lines throughout that help to add additional melody while a tough acoustic rhythm forms something of a constant chug throughout. This song is one of the instant stand-out pieces here for me, and it is another song that I can see being played by the full band on Springsteen's future tours. The title track is up next, and returns to the sparser feel of the album's opening number. Springsteen gently strums his acoustic guitar while delivering the lyrics in his trademark half-mumbled ballad delivery. Pianist Matt Rollings adds occasional melodies throughout, and a very subtle string section adds depth, but mostly this is a piece that focuses on Springsteen's vocals and guitar. That is however until a grander mid-section takes over, with famed session drummer Matt Chamberlain introducing a beat for a dense horn section to let rip with some R 'n' B-esque melodies. Sleepy Joe's Café is the first true upbeat piece on the album, with recent E Street addition Charlie Giordano adding some jaunty accordion melodies throughout. This helps to cement that French café aesthetic, while some occasional bursts of organ add a bit of classic rock grandness. Many of the songs on the album are downer pieces, with minor keys and serious subject matter - but this is a joyful song that maintains its upbeat nature and allows Springsteen and the other musicians featured here to have a bit of fun.

Drive Fast (The Stuntman) returns to the downer feel that much of the album, with Springsteen singing atop some sombre piano melodies as the piece opens up. Like many of the songs here though it starts to build up as it moves forward, with Olsen adding a punchy drum pattern and Sancious laying down some subtle organ which helps to fill out the song in conjunction with the string section. There are occasional bursts of more of a rock feeling here and there, with Olsen ramping up the drums and the string section taking over with a soaring melody - but these moments are always short-lived, and soon drop back out to allow Springsteen to continue the story of the stuntman without much competition. Chasin' Wild Horses is a beautiful song that is probably one of my favourite pieces here, and shows Springsteen at his subtle best. Even his harder rock albums have featured songs like this throughout his career, but this is one of the best examples of his subtle, downer country vibe. His voice really suits songs like this, and his simple acoustic guitar melodies make it feel as if he is sat in the room with you - absent-mindedly strumming away. There are strings here too, and what sounds like some slide guitar parts with some odd effects on them, which help to bulk the song out - but mostly this is a simple piece that really allows Springsteen's voice and lyrically storytelling to shine - with a grand string-filled ending that helps bring the piece to a strong close. Sundown opens with a fairly dramatic guitar and piano piece, before Olsen comes in with a punchy drum beat that ensures the song moves along at a strong pace. It is one of the most involved pieces musically on the album, with lots of layers of sound going on - which at times ensures the piece feels quite different to the rest of the album. Springsteen also approaches the song quite differently from a vocal perspective, really letting rip at times that is a contrast from the more low-key approach taken elsewhere. At times here he almost sounds like a crooner from the 1950s, with the dramatic string arrangement and the punchy rhythms, Springsteen's rich voice shines in a way that it has not really done before - with the rough edges seemingly gone among the lush production and layers of instrumentation. Somewhere North of Nashville seems to be the antithesis of the grander previous number however, with Springsteen's voice once again showing his trademark rugged qualities, and a simple guitar and piano (the latter from Giordano) forming the basis of the song. It is an extremely short piece, at under two minutes in length, so it races by without ever making a true impact. It is a nice contrast to the epic previous number however, and gets the album back down to earth.

It also leads nicely into Stones, a downer rock track with a shuffling drum rhythm from Olsen and a dense string and horn arrangement that adds some European-esque melodies throughout, while hypnotic percussion mixes in nicely with the drums to create a strong rhythmic feel. This is another standout track for me, but the best part is some stunning violin playing from Luis Villalobos towards the end. The dramatic, mournful sound really fits in well against the dark backdrop - and his playing really cuts through the mix to add some additional melodies and excitement to a piece that otherwise revels in darkness. There Goes My Miracle has a bit of a 1950s pop vibe to it, with Springsteen once again channelling his inner crooner, all while singing some extremely catchy vocal melodies. This is not an album that really emphasises strong, catchy vocal melodies - instead opting to create strong atmospheres throughout. This song therefore stands out somewhat, as it is one that really focuses on the vocal melodies, with a soaring chorus that sees Springsteen really going for it vocally. It is easily the most memorable chorus here, and I would not be surprised if this song became a bit of a radio hit around the world due to its accessible and old-school feel. Hello Sunshine, the album's penultimate piece, has a shuffling percussive feel along with some staccato piano playing that forms the basis of the song melodically. Acoustic guitars are mixed into the background to help add to the rhythm, but it is the piano that really drives the song - along with Springsteen's voice that never really leaves as he fills many of the gaps between lyrics with humming that mixes in well with the strings that join the fray as things move forward. It leads nicely into the album's final number Moonlight Motel which is another slower piece with Springsteen's guitar forming the basis of the song, and Rollings once again adding some gentle piano. Even the strings that feature on many songs throughout the album are largely absent here, with subtle keyboards adding atmosphere in their place. In some ways then, the album ends as it started - and that is really focusing on Springsteen solely. Many of the songs here feature the talents of many excellent musicians, but this song - along with the album's opener - really seem to be putting Springsteen and his talents right in the centre. It works well, and the song is the perfect closing number for the album - as it reinforces the moods established throughout, and gives the man himself one last chance to show off his lyrical storytelling without the larger arrangements found elsewhere. Overall, Western Stars is another strong collection of songs from Springsteen that sees him building on the foundations of his Springsteen on Broadway run with thirteen lyrical pieces that feature tight, lush arrangements that augment his stories and vocals. It is a great relaxing listen and with a new full band album allegedly due out next year, Springsteen seems to be entering into a new period of creativity.

The album was released on 14th June 2019 via Columbia Records. Below is his promotional video for Tucson Train.