Bruce Springsteen’s Least Favorite Musical Acts: A Look at His Artistic Differences
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Bruce Springsteen, affectionately known as “The Boss,” is revered as America’s blue-collar storyteller, a rock legend whose music resonates with the heart of the working class. Before becoming a cultural icon, Springsteen was a deeply principled artist with strong views on what rock and roll should represent. While he’s known for his passion and sincerity, there are accounts suggesting he had significant artistic disagreements with certain musicians and genres that he felt strayed from rock’s authentic roots. This article explores six musical acts and styles that reportedly didn’t align with Springsteen’s vision, offering insight into his perspective as a dedicated craftsman of music, based on anecdotes and insider stories.
Bon Jovi: A Different Take on New Jersey Roots: Among the artists Springsteen reportedly had reservations about is Bon Jovi, a band that soared to fame in the mid-1980s with a polished, arena-rock sound. According to some accounts, Springsteen felt their music presented a more commercialized version of the New Jersey vibe he had worked to authentically portray. A quote attributed to him in 1986, though later retracted, suggested, “They’re selling the packaging of New Jersey without the substance.” Stories from those close to him indicate he might have switched radio stations when a Bon Jovi track played, with a lighthearted quip like, “From the same state, maybe, but not from the same planet.” At shared charity events in the late 1980s, witnesses noted a contrast in their styles, with Springsteen reportedly commenting to drummer Max Weinberg that Bon Jovi’s performance felt like “New Jersey through a Hollywood filter.” Despite Jon Bon Jovi’s admiration, interactions between the two were described as reserved, reflecting differing artistic priorities rather than personal animosity.
Journey: Contrasting Approaches to Rock: Journey, with their soaring anthems and Steve Perry’s powerful vocals, reportedly represented a style of arena rock that didn’t resonate with Springsteen’s focus on raw, lived experiences. E Street bassist Garry Tallent is said to have shared that Bruce felt Journey’s music prioritized broad appeal over the gritty struggles central to rock’s spirit, once noting, “Without the struggle, what’s the point?” A story from a 1981 festival recounts Perry expressing admiration, only to receive a candid response from Springsteen: “I write about the working man. You write about feelings that sell well. We’re not in the same business.” After Don’t Stop Believin’ became a massive hit, Springsteen’s private thoughts, as shared with producer Jon Landau, suggested he saw their work as crafting a “fantasy version of struggle” rather than reflecting real pain, highlighting a philosophical divide in their approaches.
Phil Collins: A Shift Toward Pop Sensibilities: Surprisingly, Phil Collins, known for heartfelt ballads and soulful pop, appears in accounts of artists Springsteen had artistic differences with. Drummer Max Weinberg reportedly recalled Bruce viewing Collins’ shift from progressive rock to mainstream pop as a departure from rock’s rebellious edge, describing it as “background music for dentist offices.” During the mid-1980s, when both enjoyed huge success, Springsteen is said to have downplayed chart comparisons, noting, “Popularity isn’t the measurement that matters. What matters is whether you’re telling the truth.” Photographer Annie Leibovitz allegedly remembered him critiquing Collins’ commercial pivot as prioritizing sales over depth. At Live Aid in 1985, their paths crossed with little interaction, with Springsteen reportedly musing to his band about the importance of being “inside the music” rather than everywhere at once, a subtle nod to their differing focuses.
Duran Duran: Image Versus Authenticity: Duran Duran, icons of the MTV era with their stylish visuals, reportedly stood in contrast to Springsteen’s emphasis on substance over image. E Street guitarist Nils Lofgren is said to have mentioned Bruce’s concern that the band’s approach suggested “looking good is more important than sounding real.” Springsteen’s perspective extended to the broader video-driven culture of the time, with accounts of him telling his band, “We make music; they make commercials for themselves.” In a 1984 Rolling Stone feature with both acts, he reportedly avoided discussing Duran Duran, focusing instead on influences like Woody Guthrie, as noted by editor Kurt Loder. His reaction to their Hungry Like the Wolf video—walking away mid-viewing—suggests a preference for music rooted in genuine emotion over polished presentation.
Disco: A Genre Apart from Rock’s Spirit: Springsteen’s reported reservations about disco weren’t aimed at a specific artist but the genre itself, which some say he felt lacked the organic, communal essence of rock. Producer Jon Landau allegedly recalled Bruce describing disco as replacing “the human element with a machine,” viewing it as a step away from music’s heartfelt roots. During its late 1970s peak, he’s said to have expressed concern over its decorative nature to pianist Roy Bittan. Stories suggest he declined Columbia Records’ offers for disco remixes of his songs, prioritizing his artistic integrity. After observing a New York disco in 1978, he reportedly reflected, “It’s perfect for people who don’t want to think or feel too deeply,” indicating a disconnect with the genre’s purpose. Yet, he also distanced himself from the “Disco Sucks” backlash, suggesting a nuanced stance against dismissing any form of music outright.
Kenny G: Smooth Sounds Over Storytelling: At the heart of Springsteen’s reported artistic critiques is smooth jazz saxophonist Kenny G, whose style some say became a lighthearted point of discussion among the E Street Band. Saxophonist Clarence Clemons allegedly shared that Bruce referred to his music as “musical wallpaper,” feeling it prioritized pleasantness over meaningful connection. A story from 1989 describes Springsteen hearing Kenny G in an elevator and remarking, “This is the sound of giving up,” reflecting on the lack of emotional depth. During recordings, he reportedly used this as a reminder to Clemons to focus on storytelling through music. At a 1990s industry event, an interaction highlighted their contrast, with Springsteen gently noting a difference in purpose between their saxophone styles. He’s also said to have pondered Kenny G’s massive sales, musing on society valuing “comfort over truth,” a reflection on broader cultural trends.
Bruce Springsteen’s reported artistic differences with these six musical entities—Bon Jovi, Journey, Phil Collins, Duran Duran, the disco genre, and Kenny G—offer a glimpse into his deep commitment to rock as a medium of authentic storytelling. From commercial rock to smooth jazz, these accounts, drawn from anecdotes and alleged comments by those close to him, suggest he held strong views on music’s role in reflecting real human struggles over mere entertainment or appeal. While these differences might surprise some fans, they underscore what many admirers already know: Springsteen’s dedication to sincerity and depth in his craft. Far from personal feuds, these stories paint him as a thoughtful artist whose critiques stemmed from a profound love for music’s potential to connect and inspire.
