Music N' Other Drugs

“Now our luck may have died, and our love may be cold
But with you forever, I’ll stay“

When I was in seventh grade, I checked a book out of my middle school library that chronicled the most notorious murderers, criminals, and outlaws in American history. I learned about Charles Manson, Gary Gilmore, and Diane Downs at a time when most of my classmates were playing Pokémon, and the interest I had in deconstructing what made each of them tick is a large part of why I have a master’s degree in Criminal Justice Administration today.

I mention this, because there was also a section about Charles Starkweather, the 19-year-old spree killer who murdered 11 people between Nov. 1957 and Jan. 1958, that captured my fascination in much the same way that Bruce Springsteen’s was when he holed himself up in a Colts Neck, New Jersey bedroom to work on material that would ultimately lead to 1982’s “Nebraska.” The Boss had reached a breaking point after years of giving the people exactly what they wanted, so he made a choice to cut through the noise with an album defined by desperation and the unintended consequences of a runaway American dream.

Scott Cooper’s “Springsteen: Deliver Me from Nowhere” (out now) zeroes in on that period in Bruce’s life with a soulful confidence that becomes more undeniable as the film goes on. Where “Born to Run” brought an unbridled lust for life to a town full of losers, “Nebraska” essentially laments the possibility that waiting for a savior to rise from the streets is an exercise in futility.

Jeremy Allen White delivers an award-caliber performance and handles the singing as well as could be expected given the pressure of having the man himself frequently on set. His cadence, his posture, and his ability to summon Springsteen’s reluctance to be what everyone wants him to be simply can’t be overstated.

Besides the music, what also stands out is the relationship between Springsteen and Jon Landau, played by Jeremy Strong, because, when times get tough, we all want someone like Landau in our corner. He respects Bruce’s creative process and isn’t shy about telling the executives at Columbia Records where they can go if they don’t like it.

I’ve read other reviews noting how the subplot involving a single mother whose presence outside of The Stone Pony leads to a fling with Bruce doesn’t really work, and I can’t argue with that despite how committed Odessa Young is to the role. Faye was created for the sake of the film, so her angle was never going to hit as hard as the stuff that actually happened.

To coincide with the film’s release, Springsteen dropped the “Nebraska 82: Expanded Edition” box set featuring demos, outtakes, and the fabled “Electric Nebraska” sessions accompanied by the E Street band. It’s a must-have for fans and diving into it after seeing the film deepens the whole experience.

“Atlantic City” is brilliant in any context, but it’s an early, feral version of “Born in the USA” that is the real revelation here. We get a snarling vocal from Bruce that never would have been co-opted by Ronald Reagan had it been released this way, because there would have been no mistaking the song’s intent. It fits seamlessly within the narrative confines of “Nebraska” due to how easy it is to envision Vietnam veterans having to resort to doing little favors for people down by the boardwalk to make ends meet.

Perhaps I’ve been in a particular state of mind lately where this material resonates with me more than it would others, but I can’t help it. I find myself relating to Bruce’s feelings of self-loathing, imposter syndrome, and unlovability quite a bit, so think about that when deciding whether or not to see the film for yourself. While far from perfect, there are still plenty of moments to remind us why we fell in love with this music in the first place.

If you’ve been with me since I started this writing journey nearly two decades ago, you know that I’ve always been honest with my audience. I tell it like it is and couldn’t care less about looking cool.

It was recently brought to my attention that my writing has taken a rather depressing turn this year and I know that this piece won’t do anything to dispel that contention, but, like Springsteen, I can’t fake something that just isn’t there. I write how I’m feeling in the moment, and, you never know, maybe something positive will happen and I’ll be pulling out of 2025 to win.