Bruce Springsteen Joins Tom Morello At Minnesota Benefit

The city of Minneapolis found itself at the epicenter of both musical and political energy on January 30, 2026, as Bruce Springsteen made a surprise appearance at the sold-out “Defend Minnesota!” benefit concert at First Avenue. Organized by Tom Morello, the event was billed as “A Concert of Solidarity & Resistance to Defend Minnesota!” and aimed to raise money for the families of two local victims, Alex Pretti and Renee Good, both killed by federal immigration agents earlier in the month. The concert, announced just two days beforehand, quickly sold out, drawing crowds eager to both enjoy the music and stand in solidarity with the victims’ families.

The anticipation was palpable as the poster teased a “very special guest.” When Springsteen took the stage—introduced by Morello roughly two hours into the show—the crowd erupted. According to Star Tribune, Springsteen opened his set with a live debut of his new protest anthem “Streets of Minneapolis,” a song written and recorded over the previous weekend in the immediate aftermath of the shooting death of ICU nurse Alex Pretti by ICE agents. The song, released publicly on January 28, was Springsteen’s direct response to the twin tragedies that had shaken the city that month.

“I wrote this song on Saturday, recorded it yesterday and released it to you today in response to the state terror being visited on the city of Minneapolis,” Springsteen explained in a social media post, as reported by Deadline. “It’s dedicated to the people of Minneapolis, our innocent immigrant neighbors and in memory of Alex Pretti and Renee Good.” The lyrics, which describe “a city aflame fought fire and ice ’neath an occupier’s boots,” pulled no punches, capturing the anger and grief felt by many in attendance.

Springsteen’s decision to perform the song at the benefit was not made lightly. He told the crowd at First Avenue that he had sent the track to Morello in advance to gauge its tone, asking if it was too “soapboxy.” Morello’s response? “Nuance is great, but sometimes you have to kick them in the teeth.” The moment underscored the urgency and conviction that permeated the evening.

The concert’s lineup was a who’s who of activist musicians. Tom Morello, best known for his work with Rage Against the Machine, anchored the show alongside Chicago punk band Rise Against, singer-songwriter Ike Reilly, and flamenco/jazz fusion guitarist Al Di Meola. The music was as eclectic as it was impassioned, with Morello performing his signature covers of “Killing in the Name” and “This Land Is Your Land,” while Rise Against delivered their hit “Savior.” Al Di Meola and Ike Reilly added their own distinct flavors to the night.

But it was Springsteen’s collaboration with Morello that provided a highlight for many. The two joined forces for a stirring rendition of “The Ghost of Tom Joad,” a song originally written by Springsteen and famously covered by Morello’s band Rage Against the Machine. Their shared history is well-documented—Morello has appeared on two of Springsteen’s studio albums and even substituted for E Street Band guitarist Steven Van Zandt during the latter’s absence in 2013. The chemistry between the two musicians was evident, and the performance resonated deeply with the crowd.

The concert closed with a rousing, all-hands-on-deck version of John Lennon’s “Power to the People,” led by Springsteen and Morello and joined by the entire ensemble. The message was clear: music can be a force for unity and resistance in the face of injustice. As the final notes faded, Morello took the opportunity to encourage the audience to peacefully join the protest happening outside. According to Ultimate Classic Rock, the concert coincided with a national strike and protest against federal immigration agents, drawing thousands into the streets of Minneapolis.

All proceeds from the event—100%, as emphasized by both First Avenue and Star Tribune—were designated for the families of Alex Pretti and Renee Good. Pretti, a 37-year-old ICU nurse, was killed by multiple United States Customs and Border Protection agents on January 24, while Good, also 37, was shot and killed by a United States Immigration and Customs Enforcement (ICE) agent on January 7. The benefit concert was announced on January 28, and Springsteen’s new song was released the same day, amplifying the call for justice and support for the families left behind.

The political reverberations of the concert were felt far beyond the venue’s walls. Earlier in the week, Springsteen had premiered an official video for “Streets of Minneapolis,” which prompted a swift response from the White House. Abigail Jackson, a spokesperson for President Donald Trump, dismissed the song’s message, stating, “The Trump Administration is focused on encouraging state and local Democrats to work with federal law enforcement officers on removing dangerous criminal illegal aliens from their communities — not random songs with irrelevant opinions and inaccurate information.” She added, “The media should cover how Democrats have refused to work with the administration, and instead, opted to provide sanctuary for these criminal illegals.” (Associated Press)

For Morello and his fellow performers, however, the night was about something more than politics—it was about community and hope. After the concert, Morello and Al Di Meola joined thousands of protesters in downtown Minneapolis for a rally against ICE. “We tried to create a little bit of the world that we’d like to one day see in that venue, as opposed to the world that we’re seeing on these streets,” Morello reflected, according to Associated Press. The sentiment was echoed by many in attendance, who saw the concert as a rare moment of collective action and catharsis.

Springsteen and Morello’s activism is nothing new. Rage Against the Machine, in particular, has a long history of vocal opposition to social and economic injustice, and Springsteen’s catalog is filled with songs that grapple with America’s most pressing issues. But on this frigid January night in Minneapolis, their collaboration took on an added urgency—a testament to music’s enduring power to inspire, provoke, and heal.

With the proceeds aiding the families of Pretti and Good, and the city’s streets alive with protest and song, Minneapolis bore witness to a unique fusion of art and activism. The “Defend Minnesota!” concert was more than a benefit; it was a statement, a rallying cry, and, for many, a much-needed moment of solidarity in troubled times.