Album: Nils Lofgren

Breakaway Angel, Hypertension

Andy Gill
Thursday 30 May 2002 19:00 EDT
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

With his commitments to Bruce Springsteen taking up much of his time, there tend to be long gaps between Nils Lofgren albums these days. Breakaway Angel is his first since 1995 and his best in what seems like decades; in particular, his guitar-playing throughout is outstanding, a dazzling demonstration of why the likes of Springsteen and Neil Young leapt at the chance to have him in their bands. "Cryin' Tonight", for instance, features a virtuoso display of ornate fingerpicking and subtle string-bending, achieved with the most delicate and feathery of touches, while the springy curlicues of acoustic guitar in "Puttin' Out Fires" confer a giddy lightness of spirit to a rhythm track reminiscent of Hall & Oates's "Maneater". And though he's prey to the occasional bout of sickly schmaltz, such as "Love a Child" and "Heaven's Answer to Blue", lines such as "You wash your hands in my tears/ Walk my heart like a dark street/ In a bad neighbourhood" suggest that Nils can still find the apposite image to fit the emotion when he needs to. Less successful is "I Can't Fly", a baffling commentary on the effects of 11 September, in which the serenity of Lofgren's croon and the soft whine of pedal steel send out odd, conflicting signals, further confirmation of the difficulty that US songwriters still have in confronting that issue. More successful – because more straightforward – is "Tears Ain't Enough", a castigation of mealy-mouthed political inaction on the home front ("There's a moral plague and a greedy Congress/ They won't stop the drugs or the flyin' lead") featuring some frisky interplay between Nils and he bluegrass fiddler Richie Simpkins.

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in