Springsteen’s ‘Streets of Minneapolis’ Debuts Amid Surprise Benefit

MINNEAPOLIS (Azat TV) – Rock icon Bruce Springsteen made a surprise appearance in Minneapolis on January 30, 2026, debuting his potent new protest song, “Streets of Minneapolis,” at a benefit concert organized by fellow musician Tom Morello. The song, written just days before its release, directly confronts recent turmoil in the city, decrying what Springsteen called “state terror” and memorializing two individuals, Alex Pretti and Renee Good, whose deaths are referenced in the lyrics, immediately amplifying cultural commentary on a current political flashpoint.

Springsteen’s ‘Streets of Minneapolis’ Anthem Resonates

The Boss’s new track, “Streets of Minneapolis,” was officially released on January 28, 2026, just two days prior to his live debut of the song. Springsteen himself stated he penned the song on the preceding Saturday, recorded it quickly, and released it in direct response to the “state terror being visited on the city of Minneapolis.” He dedicated the song to the people of Minneapolis, “our innocent immigrant neighbors,” and in memory of Alex Pretti and Renee Good.

The lyrics of “Streets of Minneapolis” are unsparing, painting a vivid picture of a city grappling with conflict “through the winter’s ice and cold” in the “winter of ’26.” Springsteen’s words denounce “King Trump’s private army from the DHS” and praise the citizens who “stood for justice, their voices ringing through the night” amidst “smoke and rubber bullets.” The song explicitly references the deaths of Alex Pretti and Renee Good, stating they were “left to die on snow-filled streets,” and questions official narratives with lines like “Their claim was self defense, sir / Just don’t believe your eyes.” It also touches on immigration issues, noting, “If your skin is black or brown my friend / You can be questioned or deported on sight,” and echoes protest chants of “ICE out now.”

Solidarity and Resistance: The Minneapolis Benefit Concert

Springsteen’s surprise performance took place at the “Concert of Solidarity & Resistance To Defend Minnesota,” held at the 1,550-capacity First Avenue venue. The event was organized by Rage Against the Machine guitarist Tom Morello, who announced the benefit only two days prior to its staging. During his set, Springsteen not only premiered “Streets of Minneapolis” but also performed an electric, guitar-solo-filled version of his 1995 track “The Ghost of Tom Joad,” backed by Morello and other musicians.

The benefit concert aimed to support the families of Renee Good and Alex Pretti, the slain individuals referenced in Springsteen’s new song. The lineup also featured performances by other notable acts, including Rise Against, Ike Reilly, and jazz guitarist Al Di Meola. Morello, a long-time activist himself, performed songs from his own bands, Rage Against the Machine and Audioslave, such as “Killing in the Name” and “Like a Stone.” Addressing the audience, Morello described the event as a “celebration of resistance,” emphasizing the collective power of citizens to advocate for democracy and justice, stating, “Ain’t nobody coming to save us except us and it’s now or never.”

Decades of Activism: Springsteen and Morello’s Shared Path

The collaboration between Bruce Springsteen and Tom Morello at the Minneapolis benefit concert is the latest chapter in a long-standing musical and activist partnership. The two artists have frequently worked together over the past two decades, with Morello notably filling in for E Street Band guitarist Steven Van Zandt during Springsteen’s tours in 2013 and 2014. Morello and his bandmates in Rage Against the Machine have also frequently covered Springsteen’s “The Ghost of Tom Joad” in their concerts, eventually releasing their own version on the 2000 album, Renegades. Their shared commitment to social justice and politically charged music underscores the significance of their joint appearance in Minneapolis, lending considerable weight to the urgent message embedded in “Streets of Minneapolis.”

The rapid creation and debut of “Streets of Minneapolis” by an artist of Bruce Springsteen’s stature, coupled with its pointed lyrical content and direct attribution of responsibility, marks a significant moment where popular culture directly intervenes in and comments on a contemporary American political and social crisis. This immediate artistic response, amplified by a surprise live performance alongside other prominent activist musicians, elevates the specific events in Minneapolis into a national conversation about state power, civil liberties, and the role of protest.