How does the music of Bruce Springsteen interrogate prevailing constructs of the U.S.-Mexico border region? In his folk masterpiece The Ghost of Tom Joad (1995) and other works that feature Spanish-speaking protagonists, Springsteen implicitly reconceptualizes the Americas as an unbordered and fluid space. His performances enact Mexico and the United States as transamerican ideations rather than discrete nations. Although the booming academic field of border studies reframes static images of both Latin America and the United States in favor of malleable transnational paradigms, it still tends to privilege cultural production emanating from the borders themselves. This propensity does not leave much space for an engagement with canonical figures of U.S. culture such as Springsteen, a singer/songwriter who theorizes the borderlands in ways that at first may seem at odds with his career-long, conscious associations with red, white, and blue semiotics. This article examines the Hispanic presences in Springsteen's oeuvre from his debut 1973 albums onward and contrasts them with the relatively fixed representations of the borderlands in the lifework of Bob Dylan.