Thom Zimny masterfully combines archival footage, recent live performances, candid interviews, and heartfelt fan tributes to paint a vibrant portrait of a modern legend and his iconic band.
Ben Beaumont-Thomas, writing on October 23, 2024, highlights how Bruce Springsteen fans are treated to an extraordinarily immersive documentary, courtesy of Zimny—a longtime chronicler of Springsteen himself. This film explores Bruce and the E Street Band during their current world tour, which will return to the UK and Europe next year, intriguingly scheduled around Glastonbury weekend. While Springsteen contributes some voiceover segments that echo the theatrical quality of his “Springsteen on Broadway” show, his bandmates provide a more spontaneous insight into the preparations and performances of their first tour in six years, a hiatus largely due to the Covid pandemic.
An entertaining moment occurs during rehearsals when drummer Max Weinberg humorously observes that their anthem “She’s the One” seems to have transformed into a slow ballad since their time away. However, the group shakes off the rust, with Steve Van Zandt asserting that they refuse to be “old men going through the motions” and are determined to “blow fucking minds.” Zimny crafts an engaging mix of concert film, documentary, and sociological commentary as they hit the road.
The performances, while condensed, deliver a powerful impact. Viewers can relish close-up details like Springsteen’s ecstatic expressions during solos and his ability to make notes soar with both minimalism and explosive intensity. The film’s more detached approach may render some rock songs a bit laborious compared to the electric atmosphere they generate in larger venues. However, it also offers an intriguing analysis of other tracks, especially their soul-stirring cover of the Commodores’ “Nightshift,” featuring the brilliant Curtis King Jr. showcasing his improvisational talent. Moreover, it sheds light on Springsteen’s thoughtfully structured setlist, which features a poignant mid-section exploring mortality before launching into a sequence of hit songs that emphasizes the urgency of celebrating life.
I had the chance to see this tour at Hyde Park, where I was granted VIP access. This experience allowed me to watch Springsteen, a symbol of working-class pride, alongside email-checking investment bankers and, even more surprisingly, Liz Truss. Amid the ethical vacuity of the golden circle, I encountered passionate Springsteen fans who spoke with an almost evangelistic fervor about their idol. Zimny captures this fervor through individual fan interviews from their hometowns, whether in Monza or Oslo, along with heartfelt shots of fans lost in the moment during performances.
Although these fan interactions feel a bit brief, there’s perhaps an opportunity for a more daring Springsteen documentary focused solely on the fan community, reminiscent of Jeremy Deller’s film, “The Posters Came from the Walls.” While Zimny’s filmmaking style may lean less toward the avant-garde, his skillful blending of archival footage is noteworthy—it’s both entertaining and illustrative to witness the early days of the E Street Band and their less-than-ideal sleeping arrangements. Ultimately, you’re left with a sense of camaraderie among these musicians, bound together by a lifelong passion for rocking out and astonishing audiences. As Springsteen reflects, “After 50 years on the road, it’s too late to stop now,” conveying pride intertwined with a touch of humorous trepidation.
“Road Diary: Bruce Springsteen and the E Street Band” premieres on Disney+ on October 25.
