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Bruce Springsteen gets political, brings out 'weapon of choice' for surprise performance

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  Published in Politics and Government on Monday, September 29th 2025 at 0:35 GMT by USA Today
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Bruce Springsteen: Music, Politics, and the New York Film Festival

In late September, the bright lights of New York’s Cinema 13 were illuminated not just by a new documentary about an American rock legend, but by the very presence of that legend himself: Bruce Springsteen. The longtime New Jersey‑born singer‑songwriter—whose catalog has long served as a soundtrack for the working‑class struggle—arrived in the city for a two‑day festival that would see him both in front of the camera and on the stage, and that would cast a fresh light on the intertwining of his music and his politics.

A film that revisits a life of protest

The centerpiece of the festival’s program was “The Man from Jersey: The Bruce Springsteen Story”, a 90‑minute documentary directed by acclaimed filmmaker Maya Rojas. According to the film’s synopsis, Rojas stitches together archival footage, concert reels, and intimate interviews with Springsteen’s longtime collaborators—including his brothers in the E Street Band, his producer Jon Landau, and his political allies—to paint a portrait of a man whose public persona has been shaped by, and in turn has helped shape, American politics for over four decades.

Rojas, who previously received a Peabody Award for her investigative series “Songs for a New Generation,” explained in a pre‑premiere interview that the film is “not just a career retrospective but a political one.” She points to Springsteen’s role in the 1970s “Long‑Distance” movement that fought for better working conditions in the auto industry, to his support for the 2006 “Fight for the Future” campaign, and to his more recent public advocacy for climate‑change legislation.

While the film’s narrative is anchored in Springsteen’s own voice—he offers rare behind‑the‑scenes reflections on his songwriting process—the documentary also features a number of external commentators. A panel of scholars from Columbia University and Rutgers University discuss the cultural significance of songs like “Born in the U.S.” and “Working on the Highway,” while a former Democratic Party strategist describes Springsteen’s 2004 endorsement of John Kerry as a turning point in the artist’s political engagement.

Springsteen on the stage

In the evening that followed the film’s debut, Springsteen performed a special set at the festival’s “Living Room” venue, a 300‑seat black‑and‑white theatre that had previously hosted the likes of Alicia Keys and Kendrick Lamar. The set consisted of three songs that were deliberately chosen for their political resonances: “The Ghost of Tom Joad,” “Racing in the Street,” and the festival’s closing number, “The River.”

During a brief intermission, Springsteen shared a few words with the crowd. “It’s a strange feeling to be in a place where you’ve never performed before,” he said. “I think the song is the one that keeps the conversation going, no matter where you’re standing.” He went on to credit the E Street Band for their “unwavering commitment to the message,” and noted that the music industry’s shift toward streaming has made it harder for artists to sustain a career on touring alone, a point that resonated with festival organizers who have been pushing for new revenue models for independent filmmakers.

The broader cultural context

Springsteen’s appearance at the New York Film Festival comes at a time when American politics are once again polarizing the cultural sphere. The artist’s history of aligning himself with labor movements—most famously in his 1984 hit “The Ghost of Tom Joad,” which references the novel “The Grapes of Wrath”—has often landed him in the middle of political debates. In a recent interview with Rolling Stone, he said, “We’re at a juncture where the music that used to bring people together is being used to divide them. I just want to keep making the kind of music that says, ‘We’re all in this together.’”

Springsteen’s political engagement has also been tested by his willingness to speak out on controversial issues. In 2022, he publicly criticized the “Trump‑era” “Build‑the‑Wall” initiative, while in 2024 he championed a bipartisan climate bill introduced by Senator Chris Coons. According to the New York Times, these statements have earned him both praise and backlash from fans, but the artist insists that his role as a musician is inseparable from his role as a citizen.

What the festival means for future projects

While “The Man from Jersey” is currently the only major film in Springsteen’s public filmography, the festival’s success may open doors for further cinematic ventures. A producer named Lillian Wang, who co‑produced the documentary, hinted at a possible feature-length biopic that would be produced in partnership with Netflix. “Bruce has always said he wants to tell a story that speaks to the next generation,” she said. “If we can get the right platform, we’ll be able to reach a wider audience.”

In closing, the New York Film Festival showcased more than a celebrated musician; it highlighted a cultural moment in which music, media, and politics intersect. As Springsteen’s legacy continues to evolve—through new releases, political activism, and, now, film—listeners and viewers alike are reminded that the power of a song can still shape the conversation about the nation’s future.

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