Springsteen’s recent treatment of politics as an endeavor that shines a light on what is possible, rather than despair at what has been lost, can be traced back to these three nights in his living room.

There are several different paths through Springsteen’s fifth studio affair; it is a heartland rock smorgasbord that provides whatever we need at a given moment.

For all its pop doldrums, Springsteen’s seventh studio album finds him clarifying his position: Yes, times often feel hopeless, but that doesn’t mean you can’t be hopeful.

Across the seven weird tracks featured on Springsteen’s second studio album, he ushers you through a dream world with complete sincerity.

Springsteen’s fourth LP finds a man fighting his demons, resulting in a record that rips apart the scrawny, boardwalk kid image of the early years and finds its creator a brooding, revved up fighter.

Springsteen’s debut studio affair is singular in his prolific oeuvre because it has everything to prove but has no idea what “prove” really means.

‘Nebraska’ is the only Springsteen album without reasons or answers. In every other case, there is a justice or a dignity to fight for, but not on ‘Nebraska.’

The question “is there anybody alive out there?” is meant to be genuine, and you’re supposed to respond. Now, fifteen years later, ‘Magic’ is a clear portrait of what happens if we don’t.