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Maybe it’s hard to be positive and optimistic at the moment.”What’s amazing is that the musical expression of all this isn’t always some big swing toward darkness, or anger, or anxiety. The Swedish singer Robyn acknowledges that “pop at the moment is depressing” in an interview midway through this issue. “Life is pretty tumultuous right now for all of us,” said the crossover country star Kacey Musgraves, while accepting a Grammy for the Album of the Year. At some point it became a routine conversational tic for all sorts of people, of all sorts of persuasions, to express, with an incredulous gesture, that things feel a bit grueling and frantic lately, don’t they? Musicians are no exception. There’s an oddly strong in-the-moment consensus on how everyone is feeling these days, and it is not good. Davidson: John Londono/Ninja Tune. The 1975: Dafydd Owen/Newscom. (“The society we live in at the moment,” Robyn says — “we didn’t really make it very good, you know?”) But they’re a lot more motivated — whether it’s to articulate something bleak or find their way toward something better — than you might expect.Nitsuh Abebe is a story editor for the magazine.Photo illustration source photographs: Rosalía: Christian Bertrand/Alamy. No, a lot of these songs seem focused on deeper challenges: How do we get to those joys in the first place? Who gets to have them, and who deserves them? And in one case: Which of them are worth the corresponding rise in sea levels?The artists do not always sound thrilled about the circumstances. The 25 songs and artists below include blockbuster hits, critical darlings and inescapable conversation pieces, but few of them take a direct route to the usual joys of pop — the songs about dancing and boasting and sex and love, the ones about what a fantastic night everyone’s about to have or what ecstasies they intend to find by the end of it. If you’re lucky enough to have made a life writing songs or stories or something at the intersection of songs and stories, this could mean that there comes a point where you make sure people hear you clearly, one last time, before you go.I don’t know if Springsteen himself thinks about his life and death in this way, but the silences in “Springsteen on Broadway” — which ran on Broadway from Oct. If you’re lucky enough to age gracefully beyond a certain point, with that aging will come an acceptance of finality or of the idea that there is going to be a darkness from which you can’t return. I’ve lived an entire life as a fan of Bruce Springsteen, which means I have already imagined the world without him in it, and I have mourned that world. They can become more tactile with age, drawing out stories that have been told several times before the most current retelling — leaving a listener with even more touchable moments than otherwise might have been asked for or sought, so that when the storyteller is long gone, there might still be fragments of his or her stories that span generations.Of the many gripping examples of this in “Springsteen on Broadway,” the one that stands out most memorably is the sprawling story he tells before playing his iconic (and often misconstrued song) “Born in the U.S.A.” The story centers on Walter Cichon, who was the frontman for the Motifs, a band Springsteen still considers one of the best rock ’n’ roll bands from the Jersey Shore. If the project of Springsteen’s Broadway show was to attach histories and legacies to the individual songs long adored by the public, there is also something to be said about what time does to natural storytellers. The spaces he built in between the songs allow the artist to explain and give context not to just the music but also to the life built around the music. For anyone who has ever lived in any town where a band was on the verge of “making it,” you know the epiphany: This band is too good to be here, in this place, in this moment. When he performed, he would shake out his hair and send beads of sweat flying past the stage lights. Cichon wore his hair long and sported pointy black boots. To hear “Born in the U.S.A.” presented without an instrument is to hear the strain that pushes toward the edge of anger, that hovering sentiment that was lost in the original’s bombastic wall of sound and perhaps camouflaged by its imagery. What has always been true about the career of Bruce Springsteen is that he’s most entertaining when backed by his pals, but he’s most earnest when he’s alone. The song is half-spoken, half-sung, Springsteen’s voice rough and breaking beneath the decades of labor it has done — labor rendered romantic through writing and performance. He went missing in action in 1968.On Broadway, Bruce Springsteen performs “Born in the U.S.A.” largely in silence. On the isolated stage of a theater, all that’s left is knowing that the singer has loved and dreamed and lost in a country sometimes not worth loving and dreaming and losing in.In his long monologue introducing “Born in the U.S.A.” on Broadway, Springsteen talks about “the blood and the confusion and the pride and the shame and the grace that comes with birthplace,” and I get it. But with the drums and bursts of keyboards gone, the relentlessly hollow hope of the song is gone, too. The misreading of the original song was not purely accidental: Its volume and fanfare meant that it sounded (and still sounds) good bursting out of speakers while fireworks explode in the sky, and its loudest words in the chorus are about land and birthright. From a zoomed-out perspective — a white musician writing about the intricacies of labor — it could seem as if he represented everything that a particular America would be proud of. Or to know that the heroes from your hometown never made it out because war got to them first. To live a long enough life in a place founded, in part, on violence and volatility is to know that long life may depend on someone else walking through a door you wanted no part of. Because somebody did.”I imagine that’s it. He ends the story by exhaling softly and pausing before telling the audience: “I do sometimes wonder who went in my place. On Broadway, Springsteen mentions something else: He tells the story of him and two of his friends being summoned to the selective-service office, as a prelude to being sent to Vietnam — for what, he says, “we were sure was going to be our funeral.” They did everything they could to get out of being drafted, and succeeded.
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