ABSTRACT
This chapter argues for the relevance of Kenneth Burke’s theory of rhetorical identification to the work of Bruce Springsteen. Burke believed that identification and consubstantiality were foundational aspects of rhetoric in part because there is always also some division between interlocutors, and the chapter correspondingly argues for the complexity and ambiguity of identification throughout Springsteen’s career. In doing so, the chapter examines how Springsteen’s attempts at identification have been accepted and rejected by listeners, as well as how Springsteen has negotiated unwanted identifications from public leaders who embrace Springsteen’s music while holding differing political views. The chapter gives special attention to Springsteen’s more recent career, including Wrecking Ball (2012) as well as the 2016 The River Tour, and considers the role of factors such as race and age in musical identification. An important emphasis in the chapter is the role of formal musical qualities, not just lyrics, in establishing identification through music. The chapter ultimately demonstrates that Burke’s theory is particularly applicable to Springsteen’s work given Springsteen’s longstanding interest in building community and connection through his music, but the chapter also points toward a broader theory of rhetorical identification in popular music.
