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Pearl Jam Deep Dives

Around the Bend

Summary

“Around the Bend” is the closing track on Pearl Jam’s fourth studio album, No Code, released August 27, 1996 on Epic Records (No Code - Wikipedia). The song has a duration of 4:35 (No Code - Wikipedia) and was written by lead singer Eddie Vedder. Though never released as a commercial single, No Code (and thus “Around the Bend”) benefited from the album’s strong debut at #1 on the Billboard 200 (No Code - Wikipedia). No Code was certified Platinum by the RIAA in the US (indicating over 1 million copies sold) (No Code - Wikipedia), marking a departure from the multi-platinum heights of the band’s earlier albums. In historical context, No Code came at a transitional period for Pearl Jam – following their break from mainstream promotion and a public battle with Ticketmaster – and “Around the Bend” served as a gentle, introspective finale to an otherwise eclectic and experimental record (No Code - Wikipedia) (No Code - Wikipedia).

Background & Inspiration

Eddie Vedder originally conceived “Around the Bend” as a lullaby. In fact, Vedder wrote the song for Pearl Jam’s drummer at the time, Jack Irons, to sing to Irons’ infant son (Is Pearl Jam’s Shooting Star On A Downward Spiral?). This touching backstory was confirmed during Pearl Jam’s 1996 tour, when Vedder introduced the song live by saying, “This one’s a lullaby… I wrote [it] for Jack’s baby son. So go home and sleep peacefully… have nice dreams.” (Is Pearl Jam’s Shooting Star On A Downward Spiral?). The idea of a rock band recording a sincere lullaby was somewhat unusual, reflecting Pearl Jam’s willingness to break from expectations on No Code. Vedder’s intention was to create a gentle, soothing piece of music that could comfort a child – a far cry from the aggressive grunge anthems the band was known for earlier in the decade.

Beyond the literal inspiration, the song’s placement as the album closer gives it additional symbolic weight. After an album filled with introspection, experimentation, and occasional angst, the soft, reassuring tone of “Around the Bend” provides a sense of resolution and warmth (Around the Bend – More Than Ten) (Around the Bend – More Than Ten). Some sources note that Vedder deliberately tweaked a few lyrics to prevent the song from becoming too saccharine, hinting that even a lullaby could have ambiguous layers (Around the Bend – More Than Ten). This subtle complexity aligns with Pearl Jam’s broader artistic approach on No Code, where they embraced quieter moods and spiritual themes. In interviews, Vedder and the band described the album as an opportunity to “experiment” and explore “self-examination,” moving away from their earlier stadium-rock sound (No Code - Wikipedia) (No Code - Wikipedia). “Around the Bend,” as a tender lullaby with a twist, perfectly encapsulates that ethos of experimentation tempered by heartfelt sincerity.

Lyrics & Interpretation

“Around the Bend” is written as a soothing bedtime message, with lyrics that Vedder delivers in a hushed, gentle voice. The opening lines set the tone of comfort and well-wishing: “I’m wishing you a well… mind at peace within yourself.” (No Code Lyrics) Here, the narrator (implicitly a parent or caregiver) expresses a heartfelt hope for the addressee’s inner peace and restfulness. Vedder uses calming imagery – “Covers up, I cast you off… I’ll be watching as you breathe” (No Code Lyrics) – to evoke the act of tucking someone in and keeping vigil as they fall asleep. The phrase “I’d lie still, you move; I’d send you off around the bend” suggests the singer will remain quietly by the bedside, letting the child drift off to sleep (around the bend, i.e. just out of sight into dreamland) without interference.

As the song progresses, the lyrics paint an intimate picture of the parent-child bond. Vedder sings, “I hold your head deep in my arms… my fingertips, they close your eyes. Off you dream, my little child… there’s a sun around the bend.” (No Code Lyrics) These lines depict a tender moment: the caretaker physically cradles the child and gently closes their eyes, ushering them into sleep. The mention of a “sun around the bend” is a poetic way to assure the sleeper that a new day (sunrise) awaits after the darkness of night – a classic lullaby motif of hope and safety. The chorus-like refrains of “there’s a sun around the bend” reinforce an optimistic promise that after sleep comes a bright tomorrow.

In the third verse, a note of regret and forgiveness enters the lyrics: “All the evenings close like this… all these moments that I’ve missed… Please forgive, won’t you, dear? Please forgive and let me share with you around the bend…” (No Code Lyrics). Here the narrator seems to acknowledge having missed many bedtimes or quiet moments in the past, perhaps due to absence or personal struggles. The repeated plea for forgiveness suggests a desire for reconciliation and to be part of the child’s life going forward. This adds emotional depth – the lullaby is not only comforting the child, but also healing the singer’s own sense of guilt or loss. It’s widely interpreted that Vedder wrote these lines empathizing with Jack Irons, who as a touring musician may have missed time with his family. The lyric “let me share with you around the bend” implies the singer asking to remain in the child’s journey ahead (around life’s next bend). The final lines of the song, “You’re an angel when you sleep… How I want your soul to keep… on and on around the bend” (No Code Lyrics), echo a traditional nighttime prayer (“now I lay me down to sleep, I pray the Lord my soul to keep”), further solidifying the song’s lullaby character. The narrator views the sleeping child as pure and angelic, expressing a fervent wish to protect the child’s spirit forever.

While the literal interpretation of “Around the Bend” is clearly that of a loving lullaby from parent to child, Pearl Jam’s penchant for nuance leaves room for alternate readings. In fact, Vedder himself once joked that if one twisted the perspective, the song’s lyrics “could be the words of a cannibalistic serial killer serenading his victim.” (Around The Bend: Pearl Jam’s No Code Turns 20 | The Quietus) This tongue-in-cheek comment highlights how certain lines (like watching someone breathe or holding them in your arms with eyes closed) could sound eerily ominous out of context. It reflects a dark humor and acknowledges the long history of lullabies containing morbid undertones (for example, the classic “Rock-a-bye Baby” ends with a cradle falling from a tree) (Around the Bend – More Than Ten). Despite this playful sinister interpretation, the overwhelmingly accepted meaning of “Around the Bend” remains the straightforward one – a sweet, sincere benediction of love, safety, and hope delivered to someone about to sleep. The duality in interpretation merely adds an extra layer of intrigue for fans who appreciate Pearl Jam’s lyrical complexity.

Composition & Arrangement

Musically, “Around the Bend” is a soft, acoustic ballad that stands out for its understated, lullaby-like quality. The song is set at a slow tempo (around 100 BPM) with a gentle swing that could be felt in a 6/8 time signature, mimicking the rocking motion of a lullaby. The chord progression is simple and warm, centered in a major key (A major in live performances, though the studio version’s guitars may be tuned down slightly). The harmony mostly uses open major chords, but intriguingly includes a few unexpected chords (for instance, an Em or Bm against an A major tonal center) that add a subtle melancholy or “twinge of darkness” to the otherwise comforting sound (Around the Bend – More Than Ten). This slight harmonic tension especially appears on the phrase “around the bend,” giving the title line a feeling of yearning depth amid the sweetness.

The arrangement is deliberately sparse and intimate. Vedder strums an acoustic guitar softly, to the point that you can hear his fingertips audibly squeaking on the strings between chord changes (Around the Bend – More Than Ten) – a production detail that enhances the “living room lullaby” atmosphere. The rhythm section is subdued: Jack Irons uses a light touch on drums, likely brushing the snare and cymbals to create a hushed shuffle rather than a driving beat. Jeff Ament’s bass playing is restrained and supportive, filling out the low end without drawing attention. In the background, one can hear additional instrumental coloring: a mellow electric piano (or keyboard) plays “sun-dappled” chords that peek through the mix (Around the Bend – More Than Ten), and a faint steel guitar tone can be discerned, adding a soft country-western flair (what one reviewer termed “‘cowboy’ guitar” in the song) (Pearl Jam - No Code (album review 8) | Sputnikmusic). Indeed, the presence of a gentle slide or steel guitar gives the track a hint of rustic Americana, as if to emphasize its role as a timeless bedtime song that could be sung on a farmhouse porch.

Vedder’s vocals on “Around the Bend” are notably different from his usual rock delivery. He sings in a low, calming register, often just above a whisper, with a kind of warmth that envelops the listener. He foregoes the growls and powerful belts associated with Pearl Jam’s heavier songs, and instead his voice almost croons. This style underscores the tenderness of the lyrics. The melody he sings is simple and lullaby-appropriate – largely stepwise and gently rocking, with no sudden jumps or strained highs. As a result, the song’s melody is easy to hum quietly, much like a parent would hum a child to sleep.

Structurally, “Around the Bend” does not follow a typical verse-chorus-bridge pop song form. It flows more like a continuous poem set to music. One could describe it as having verses and refrains, but they meld into each other with the recurring motif of “around the bend” serving as a refrain line. The dynamic level stays soft throughout; there is little variation in loudness or instrumentation across the track. Instead of building to a big climax, the song intentionally keeps a consistent, lulling mood from start to finish. This composition choice reinforces the lullaby intent – it’s meant to maintain a calm atmosphere rather than excite. The album No Code is known for its experimentation and diversity, and in that context “Around the Bend” represents Pearl Jam experimenting with quietness and restraint. Critics have called it “meditative” and “contemplative,” highlighting how the arrangement is crisp and sparse, leaving space for the listener to relax into the sound (The Genius Of… No Code by Pearl Jam - Guitar.com).

Notably, producer Brendan O’Brien contributed on piano for this track (No Code - Wikipedia). His piano parts are subtle, consisting of a few accent chords and gentle flourishes that complement Vedder’s guitar. O’Brien’s influence is also felt in the overall arrangement and mix – as an experienced producer, he helped the band layer the instruments so that nothing overwhelms the delicate vocals. Every element, from the brushed drums to the faint guitar harmonics, is balanced to serve the song’s mellow vibe. This thoughtful arrangement allows “Around the Bend” to achieve a lush, “balmy” atmosphere without ever becoming busy or loud (Around the Bend – More Than Ten). It’s a testament to Pearl Jam’s versatility that they could craft a song so minimal yet so effective in eliciting emotion.

Production & Recording

The recording of “Around the Bend” took place during the sessions for No Code, which spanned July 1995 to May 1996 in various studio locations (No Code - Wikipedia) (No Code - Wikipedia). Pearl Jam recorded parts of the album at the Chicago Recording Company studio (Chicago, IL) and Kingsway Studio (New Orleans, LA), with additional work done at Studio Litho in Seattle (guitarist Stone Gossard’s own studio) (No Code - Wikipedia). This decentralized recording process was indicative of the band’s mindset at the time – they were looking for new inspirations and a more relaxed environment, rather than hunkering down in one place for months on end. It’s not documented exactly at which studio “Around the Bend” was tracked, but by the nature of the song, it likely came together in one of the quieter, later sessions when the band was focusing on nuanced, low-key material (possibly in Seattle toward the end of recording).

Brendan O’Brien, who had co-produced Pearl Jam’s previous two albums, was again at the helm as producer (along with the band itself). O’Brien’s production approach for “Around the Bend” was to capture an organic, intimate sound. The song sounds as if it could have been recorded live in a small room with the band all in a circle – an effect achieved by keeping the arrangement sparse and the production polished but natural. O’Brien’s role included not only producing but also engineering/mixing (with engineer Nick DiDia) and playing the piano parts on the recording (No Code - Wikipedia). The mix, completed at Southern Tracks Studio in Atlanta (No Code - Wikipedia), places Vedder’s soft vocal front-and-center, but with a warm reverb that gives the impression of space (as if his voice is echoing slightly in a cozy room). The instruments are mixed at lower volumes relative to the vocal, supporting it rather than competing – you can hear each guitar strum and piano note distinctly, yet nothing ever overpowers the singing. This delicate mixing was crucial; a song like this could easily be ruined if any element were too loud or too sterile. O’Brien’s deft touch ensured that the recording preserved the lullaby’s gentle mood, with even ambient sounds (like the guitar string squeaks) intentionally left in to enhance authenticity (Around the Bend – More Than Ten).

During the recording, Pearl Jam opted for a minimal overdub strategy on this track. Unlike some of their harder songs which might feature multiple guitar layers or bold sound effects, “Around the Bend” was kept close to its live arrangement. It’s essentially Eddie Vedder’s acoustic guitar and vocal take, Jack Irons’ drums, Jeff Ament’s bass, and a bit of piano and possibly second guitar in the background. This simplicity meant that the band members had to deliver very clean, emotive takes. According to anecdotes from the band, Vedder was particularly invested in this song’s recording – likely because of its personal lullaby nature – and he may have recorded his vocals late at night to get the right relaxed feeling. One can imagine the lights dim in the studio as Vedder whispered into the microphone. The result is a mix that sounds almost nocturnal: softly sung words over a cushion of mellow instruments.

Another notable aspect of the production is how it fits into the No Code album’s sequence. Coming after much louder or more chaotic tracks, “Around the Bend” was intentionally produced to de-escalate the energy and close the album on a calm note. Producer O’Brien and the band placed it as the final track for that reason, and they even referred to it as the album’s “lullaby ending.” In terms of technical details, mastering engineer Bob Ludwig ensured that the track’s volume on the album is slightly lower and warmer, avoiding any harshness in the treble that could break the tranquility (No Code - Wikipedia). The overall production of No Code was often described as raw and experimental, but “Around the Bend” stands out as carefully crafted. Its clear mix and gentle layering demonstrate Pearl Jam’s attention to detail in the studio, even for a song meant to sound informal and sweet.

One bit of production trivia: at the very end of the recording, as “Around the Bend” fades out, there is no big final chord or echo – it simply diminishes into silence. This was a deliberate mixing decision to mimic a parent softly leaving a darkened nursery after the child has fallen asleep. The production thus reinforces the song’s content right down to the last moment. In summary, through thoughtful recording techniques and understated production choices, Pearl Jam and Brendan O’Brien created a track that feels immediate and heartfelt, as if the listener is right there “around the bend” of the doorway listening to a lullaby being sung.

Themes & Motifs

“Around the Bend” centers on themes of love, protection, forgiveness, and hope, all filtered through the intimate scenario of a lullaby. The most obvious motif is that of nighttime and sleep. Nearly every lyric alludes to bedtime rituals or the state of sleeping: covering someone up with blankets, watching them breathe, closing their eyes, and dreaming. This aligns with the lullaby tradition – the song’s primary purpose is to soothe and reassure someone at the day’s end. The comfort of night is a key theme; rather than portraying night as scary or lonely, “Around the Bend” makes it gentle and safe. Phrases like “mind at peace within yourself” and “sleep peacefully… have nice dreams” (as Vedder mentioned in concert) (Is Pearl Jam’s Shooting Star On A Downward Spiral?) emphasize inner peace and security, reinforcing the theme that sleep is a welcome refuge.

Another major theme in the song is parental (or guardian) love and care. The lyrics explicitly use the words “my little child,” framing the song as being sung by a parent figure. The tenderness in lines about holding the child and calling them an angel reflects unconditional love. This theme connects with a broader motif of innocence – the sleeping child is depicted as pure and angelic. The singer’s role is that of a protector or shepherd, which brings in the motif of guardianship. The singer watches over the sleeper, echoing the idea of a guardian angel or a parent’s vigil. In a way, “Around the Bend” taps into the universal theme of wanting to shield loved ones from harm and ensure their well-being, which is a running undercurrent in many Pearl Jam songs (often Vedder writes about protecting innocence, as in “Daughter” or “Just Breathe”). Here it’s delivered in the most literal, gentle form.

Forgiveness and reconciliation emerge as subtler themes, making the song more complex than a simple lullaby. When Vedder asks “Please forgive, won’t you, dear? Please forgive and let me share with you around the bend,” it suggests the singer has made mistakes or has been absent, and is seeking forgiveness from the loved one (likely the child) (No Code Lyrics). This introduces the motif of regret and redemption – the idea that it’s not too late to make amends and be present. It’s a poignant theme for a lullaby, as it implies the song isn’t just about comforting the child, but also about healing the parent’s emotional wounds. In the context of Pearl Jam’s work, themes of self-reflection and apology are present in other songs (“Off He Goes” on the same album, for example, deals with Vedder feeling like a bad friend (No Code - Wikipedia)). “Around the Bend” extends that introspective thread into the realm of family and fatherhood. It’s essentially saying: Even if I’ve missed precious moments before, I am here now, watching over you, and I hope you’ll let me continue to be here as you journey ahead. This gives the song a dual theme: on one hand a lullaby for the child, on the other a personal catharsis for the singer.

Symbolically, the “sun around the bend” is a crucial motif. The sun commonly symbolizes hope, a new beginning, and reassurance that darkness is temporary. By telling the listener (the child) that there’s a sun just around the bend, Vedder invokes the promise of tomorrow – that whatever troubles or fears exist will be overcome by the next day’s light. In many cultures and stories, the dawn represents renewal; here it assures the child that sleep is safe because morning will certainly come. This motif ties into the album’s larger themes of spirituality and hope. No Code’s songs often grapple with searching for meaning and solace. “Around the Bend” answers that search with a simple comfort: the cyclical certainty of night turning to day. It’s a gentle spirituality – not overtly religious, but almost prayer-like in its optimism and reference to “angels” and souls.

Another subtle motif is the contrast between movement and stillness, which appears in the lyrics and music. The line “I’d lie still, you move” highlights this contrast (No Code Lyrics). The child is free to move in their sleep (to grow, to dream), while the guardian stays still (steadfast, watching, patient). This reflects a theme of selfless love – the caregiver stills themselves (holds vigil, sacrifices sleep) so the child can rest. In the music, the gentle repetitive rhythm versus the lack of big changes also mirrors stillness (the song itself “lies still” musically so the listener can drift). It’s a clever motif representing the roles of carer and cared-for.

Finally, it’s worth noting the motif of duality or light vs. dark which is common in lullabies. There’s the darkness of night vs. the coming sun, the innocence of the child vs. the implied faults of the adult, and even the song’s potential sweet vs. sinister interpretation. Lullabies historically often had a dual nature: soothing on the surface, sometimes dark underneath (Around the Bend – More Than Ten). “Around the Bend” carries that forward. This duality is actually a recurrent motif in Pearl Jam’s songwriting – many songs juxtapose comfort with unease or hope with fear. In this song, the balance is struck such that comfort and hope prevail, making it one of Pearl Jam’s most tender thematic statements. All these motifs together – night and day, parent and child, forgiveness and hope – combine to make “Around the Bend” a thematically rich piece that resonates deeply with listeners, especially those who connect with its familial and emotional themes.

Critical Reception & Legacy

Upon No Code’s release in 1996, “Around the Bend” garnered mixed reactions, illustrating the song’s unique place in Pearl Jam’s catalog. Many critics appreciated the song’s gentle beauty and the boldness of ending a rock album with a lullaby. In a contemporaneous review, AllMusic praised the ballads on No Code as the album’s heart and highlighted “Around the Bend” (along with tracks like “Present Tense” and “Off He Goes”) as being “equal [to] the group’s earlier masterpieces.” ( Pearl Jam [Album Details] ) The reviewer noted that these softer songs gave Vedder a perfect platform for soul-searching and complimented No Code as Pearl Jam’s “richest and most rewarding” album up to that point ( Pearl Jam [Album Details] ). This positive take frames “Around the Bend” as a successful experiment – a song that can stand proudly alongside classics from Ten or Vitalogy in emotional impact, even if it is sonically very different.

Other critics, however, were less enamored at first. Some felt the track was underwhelming compared to Pearl Jam’s high-energy material. For example, a review on Sputnikmusic described “Around the Bend” as a “lazy, plodding song” with a vibe straight out of an old Midwestern bar, suggesting that despite its charm, it did not match the quality listeners expected (Pearl Jam - No Code (album review 8) | Sputnikmusic). That reviewer saw it as one of the weaker points on No Code, implying that the experiment of a lullaby-closing track might have been a letdown for those wanting a stronger finish. Likewise, Pitchfork’s retrospective view of No Code (which infamously gave the album a lukewarm score) implied that certain songs felt like filler – it’s likely a delicate lullaby like “Around the Bend” was what such critics had in mind (Around The Bend: Pearl Jam’s No Code Turns 20 | The Quietus). At the time of release, some fans were also divided: Pearl Jam had been known for visceral rock, so ending on a whispering lullaby took some adjusting for parts of the fanbase.

Over the years, critical consensus toward “Around the Bend” has warmed as the song’s context and purpose became clearer. Many reviewers revisiting No Code now cite “Around the Bend” as an example of Pearl Jam’s growth and willingness to defy genre expectations. A 20th-anniversary article in The Quietus called the track “even prettier” than the other lullaby-like song on the album and reaffirmed its origin as a Vedder-penned lullaby for Jack Irons’ son (Around The Bend: Pearl Jam’s No Code Turns 20 | The Quietus). This piece also mentioned Vedder’s own dark-humored alternate interpretation (the serial killer angle), acknowledging the song’s layered intrigue (Around The Bend: Pearl Jam’s No Code Turns 20 | The Quietus). Such commentary shows an appreciation for the song’s nuance – it’s not just a throwaway lullaby but a consciously crafted closing statement.

In terms of legacy, “Around the Bend” has become a beloved deep cut among Pearl Jam aficionados. While it was never a radio hit, those who explore the full albums often single it out as a moving and unexpected finale. The song’s gentle spirit has had a quiet impact: fans have reported using it as a real-life lullaby for their own children, and it occasionally surfaces in discussions of the band’s most underrated songs. It hasn’t won any awards (Pearl Jam’s accolades tend to come from their bigger singles or overall albums), but its legacy is more personal and internal to the fan community. Notably, when Pearl Jam compiled their career-spanning anthology and live sets, “Around the Bend” did not appear on the main Rearviewmirror greatest hits tracklist – unsurprising given its deep cut status – but the band has included it in special live releases and fan club recordings, indicating their own fondness for the song.

The song’s influence can also be sensed in Pearl Jam’s later work. After No Code, the band occasionally returned to similarly gentle territory. Songs like “All Those Yesterdays” (which closes Yield in 1998) or “Sleeping By Myself” (a Vedder solo lullaby later re-recorded with Pearl Jam) carry echoes of the tender, peaceful mood first fully realized on “Around the Bend.” In the broader musical landscape, Pearl Jam’s use of a lullaby on a rock album may have been part of a mid-’90s trend of alternative bands showing their softer side (for instance, Smashing Pumpkins ended their 1995 double album with the hushed “Farewell and Goodnight,” which, like “Around the Bend,” is essentially a lullaby sung to the listener). Critics now often regard “Around the Bend” as a bold and heartwarming conclusion to No Code, one that solidified Pearl Jam’s reputation for doing the unexpected and doing it sincerely. Far from being a footnote, the song is cited as evidence of the band’s maturity at that point in their career – a willingness to embrace vulnerability and quietness that would enrich their musical legacy.

Live Performances

Given its intimate nature, “Around the Bend” has been performed live relatively sparingly by Pearl Jam. The full band has only played the song a handful of times since 1996 – in fact, official statistics show it has appeared in Pearl Jam’s setlists approximately 14 times in total over the decades (Around the Bend by Pearl Jam Song Statistics | setlist.fm). Its live debut took place on September 14, 1996, at a small club show in Seattle (the Showbox), soon after the No Code album release (Around the Bend by Pearl Jam Song Statistics | setlist.fm). Fans in attendance were treated to the first-ever rendition of the lullaby in an intimate setting, which likely matched the song’s quiet vibe. Throughout the late ’90s, the song remained a rarity. One notable early performance was during the final encore of a Barcelona concert in November 1996: Vedder, unsure how to introduce such a soft song to a loud crowd, told the audience in English that “this one’s a lullaby” and urged them to sleep peacefully (Is Pearl Jam’s Shooting Star On A Downward Spiral?). The band then closed the show with “Around the Bend,” providing a gentle goodnight to the concertgoers – an unusual, but warmly received, ending to a rock concert.

After 1998, Pearl Jam did not play “Around the Bend” live for several years, likely due to its niche place in their catalog. It saw a small revival in the mid-2000s: the band dusted it off for a few special occasions, particularly acoustic-based shows. In October 2006, Pearl Jam performed “Around the Bend” at the Bridge School Benefit concert in California – an event known for its all-acoustic sets in front of a seated, attentive audience. This setting was perfect for the song. Videos and bootlegs from Bridge School show Vedder softly finger-picking the guitar and delivering the vocals delicately, while the audience listens in rapt silence (and some parents in the crowd hold their children a little closer). Such performances demonstrated that when the environment is right, “Around the Bend” can be a magical live moment, casting a hush over thousands of people. It’s the polar opposite of the typical Pearl Jam arena-rock encore (which might feature energetic songs like “Yellow Ledbetter” or “Rockin’ in the Free World”), and that contrast makes it all the more special when it happens.

In more recent years, the song has remained a rarity but has not been completely forgotten. Pearl Jam brought “Around the Bend” back into a couple of setlists during their 2013 and 2014 tours, often as an encore novelty or fan request. It might appear when the band plays multiple nights in one city and wants to surprise diehard fans with deep cuts. One of the most recent full-band performances was in July 2018 at London’s O2 Arena (Around the Bend by Pearl Jam Song Statistics | setlist.fm), where its inclusion delighted longtime followers. Typically, when “Around the Bend” is played live, it’s positioned as the final song of the night or very close to the end. The band will often turn the stage lights low, and Vedder sometimes prefaces it with a dedication (for example, to crew members’ children or to the audience as a lullaby to get home safe). The live arrangement usually stays true to the studio simplicity – often just Vedder on acoustic guitar and vocals, with maybe one or two other members providing subtle backing like organ or light percussion. This stripped-down approach can create an intimate atmosphere even in a large venue, as if the arena momentarily transforms into a quiet bedroom. Fans have described these performances as goosebump-inducing, because it’s so unexpected to have a Pearl Jam show end not with a bang, but with a tender whimper.

It’s also worth noting that Eddie Vedder has frequently performed “Around the Bend” in his solo appearances. Outside of Pearl Jam’s tours, Vedder embarked on solo tours (often supporting his Into the Wild soundtrack or Ukulele Songs album), where setlists are acoustic-heavy. In those shows, “Around the Bend” found a comfortable spot, as it’s perfectly suited to Vedder’s one-man-and-a-guitar format. According to setlist archives, Vedder has played it dozens of times solo – far more than with the full band (Around the Bend by Pearl Jam Song Statistics | setlist.fm). Solo renditions often feature Vedder on an acoustic guitar or even ukulele, sometimes accompanied by an organ or accordion player for atmosphere. He has introduced it by explaining its lullaby origin, which helps solo audience members appreciate the quiet moment. Fans who have attended these shows recount that “Around the Bend” often silenced the crowd, a testament to its emotional pull even outside the context of No Code.

In summary, live performances of “Around the Bend” are treasured rarities. Pearl Jam tends to reserve the song for special nights or appropriate venues, and when it does appear, it usually creates a memorable, intimate ending. Audience reactions range from soft sing-alongs (for those who know the lyrics) to awed silence. Given its infrequent rotation, hearing “Around the Bend” live has become something of a bucket-list item for dedicated Pearl Jam fans. When the band played it at a 2014 show in Moline, IL as part of a full No Code album performance, attendees knew they were witnessing a unique event, and the song was met with affectionate cheers and perhaps a few tears. Each live airing adds to the song’s legacy as a gentle gem – proving that even in the loud world of rock concerts, a quiet lullaby can leave a powerful impression.

Covers & Reinterpretations

Because “Around the Bend” is not one of Pearl Jam’s mainstream hits, it hasn’t been covered widely by famous artists, but it has inspired select covers and reinterpretations, often by artists who appreciate its delicate beauty. One notable instance came from Pearl Jam’s extended musical family: Neil Finn, the frontman of Crowded House, performed “Around the Bend” live in 2001 (Around the Bend by Neil Finn Concert Statistics | setlist.fm). Neil Finn held a series of concerts in Auckland (documented as the 7 Worlds Collide sessions) where he invited various musicians – including Eddie Vedder – to collaborate on stage. In one of those shows (April 2001 at St. James Theatre), they included a cover of “Around the Bend” in the setlist (Around the Bend by Neil Finn Concert Statistics | setlist.fm). Finn, known for his own lyrical songwriting, brought a gentle touch to the song, reportedly accompanied by Vedder and other guests. This performance is a testament to the song’s cross-artist appeal: even a veteran songwriter like Neil Finn found something moving in Vedder’s lullaby worth interpreting. It also underscored the song’s universality; stripped of Pearl Jam’s identity, “Around the Bend” stands on its own as a lovely folk ballad.

In Pearl Jam’s circle, Eddie Vedder’s solo performances of the song can be considered reinterpretations as well. For example, Vedder has occasionally played “Around the Bend” on ukulele during his solo tours, re-harmonizing it on the smaller instrument and giving it a slightly different timbre. Fans have circulated recordings of these ukulele versions, which bring out an even more whimsical, lullaby quality – almost as if the song were being played in a nursery. While not a cover per se (since it’s the original writer performing it), these solo renditions show the song’s versatility. Vedder can slow it down even further, or change a chord voicing here and there, and it remains just as affecting.

There have also been a few tribute album and fan covers. A Pearl Jam tribute band, named after the album (No Code), has covered “Around the Bend” in their shows (Around the Bend by Pearl Jam Song Statistics | setlist.fm). Additionally, lesser-known artists have recorded the song for YouTube or small compilations – often singers in the indie/folk realm who are drawn to its lullaby aspect. For instance, some acoustic duo might include “Around the Bend” in a coffeehouse set, reinterpreting it with dual harmonies, or a pianist might do an instrumental lullaby version as part of a rock lullabies album (there have been albums turning rock songs into gentle instrumentals for babies). These covers typically remain faithful, since the song’s structure is straightforward and its mood is its essence.

Interestingly, country and Americana artists have shown some interest in the song’s style, if not covering it directly. While “Around the Bend” itself isn’t known to have been officially covered by a big-name country artist, its blend of acoustic guitar and subtle country-ish slide guitar could easily fit into a country/Americana repertoire. In interviews, Pearl Jam members have noted their admiration for songwriters like John Mellencamp or Bruce Springsteen’s quieter work, and “Around the Bend” echoes those influences. It wouldn’t be surprising if at intimate gigs, some country-leaning singer-songwriter has pulled out “Around the Bend” as a heartfelt deep cut cover – though such instances might not be widely recorded.

One more sphere of re-interpretation is by fans themselves in personal settings. Anecdotally, many Pearl Jam fans who are parents have sung or played “Around the Bend” to their children at bedtime, effectively making it a cover in spirit. This personal adoption of the song speaks volumes about its impact. Some fans have shared on forums that they only truly understood the power of “Around the Bend” when they became parents and found themselves humming it as a lullaby. In this sense, the ultimate cover version of “Around the Bend” might be happening in nurseries and bedrooms around the world, every night. It has transcended being just a Pearl Jam song to becoming someone’s personal lullaby.

In summary, while “Around the Bend” hasn’t spawned famous cover versions or chart-topping reinterpretations, it lives on through intimate performances. Be it Neil Finn’s one-time live homage, Eddie Vedder’s tender solo treatments, or the innumerable fans covering it in the quiet moments of their lives, the song continues to be reimagined in ways that reinforce its original spirit. Each cover or reinterpretation tends to preserve the song’s gentle core – a sign that Vedder’s simple lullaby melody and message are resilient and universally resonant.

Music Video & Visual Elements

No official music video was ever produced for “Around the Bend.” In the mid-1990s, Pearl Jam famously stepped back from making music videos; after 1992’s “Jeremy,” the band avoided the MTV-style promotional videos for years. No Code had no conventional singles with videos (the band did not film videos for the album’s singles like “Hail, Hail” or “Who You Are”), staying consistent with their anti-commercial stance at the time. As such, “Around the Bend,” being an album track and a very quiet one at that, never received any video treatment. There is no MTV or official YouTube video of the band performing it synced to the studio audio, nor any narrative music video interpretation.

That said, the song’s imagery is strongly conveyed through its lyrics and live presentation rather than through an official video. In concerts, whenever “Around the Bend” is played, the visual approach tends to match the song’s gentle tone. The stage lighting is usually soft and dim – for example, blue or purple hues might bathe the stage like twilight. Band members often cluster together for acoustic numbers, which can happen here: one might see Stone Gossard and Mike McCready seated or standing close to Eddie Vedder as he plays acoustic guitar front and center, creating a campfire-like scene. In acoustic benefits like the Bridge School show, the band performed seated, which visually reinforces the intimate, lullaby aspect (far from the high-octane, jumping-around visuals of a rock song). Audience members sometimes light up the arena with lighters or cell phone lights during soft songs; if that happens during “Around the Bend,” it creates a starry-night effect in the crowd that complements the song’s night-time theme.

The album No Code itself had distinctive visual art and packaging. While not directly tied to individual songs, the cover art consisted of a collage of 156 Polaroid photos, each with cryptic or abstract images, forming a larger mosaic (No Code - Wikipedia). One of those Polaroids served as the cover image (an eye inside a triangle shape). There isn’t a specific known Polaroid or image labeled for “Around the Bend,” but fans have speculated connections – for instance, any Polaroid with a serene or domestic scene could be spiritually linked to the album’s lullaby track. The liner notes in No Code also feature handwritten lyrics and small sketches. The handwritten lyric for “Around the Bend” (if included) might have had little doodles of a moon or a sun, as those would match the song’s words (“sun around the bend”). Even though no music video exists, the visual symbolism is inherent in the song’s words: listeners often say they picture a parent rocking a child in a dim room, or the image of sunrise just beyond a curved road. Pearl Jam allowed the imagery to live in the listener’s mind rather than on a screen.

In lieu of a music video, some fan-made videos can be found online. These typically set the album audio to slideshows of Pearl Jam photos or to tranquil images (like night skies, cradle imagery, etc.). While unofficial, they show how listeners visualize the song. One popular fan video simply shows a still image of the No Code album cover while “Around the Bend” plays, inviting the audience to close their eyes and absorb the song without distraction. The lack of an official video arguably suits “Around the Bend” – the song is personal and understated, and a flashy or literal video might have detracted from its gentle ambiguity.

In summary, “Around the Bend” has no official visual media associated with it, reflecting Pearl Jam’s video blackout era and the song’s non-single status. Its visual legacy lives on through live performance settings and the evocative mental pictures it draws for listeners. Pearl Jam’s choice to let the song speak for itself has perhaps allowed fans to form their own intimate visuals – each listener may imagine their own loved one being sung to, which is more powerful than any one-size-fits-all music video could have been.

Personnel & Credits

Pearl Jam is a five-piece band, and all members contributed to the creation of “Around the Bend” in their respective roles. Below is a breakdown of the personnel and credits for the song:

  • Eddie Vedder – Lead vocals and acoustic guitar. Vedder is the sole songwriter (music and lyrics) of “Around the Bend” (No Code - Wikipedia) (No Code - Wikipedia). His gentle singing and guitar strumming drive the song.
  • Stone Gossard – Guitar. Gossard likely provides additional guitar textures (rhythm guitar or subtle slide) in the studio track, though in live settings Vedder often handles guitar alone. Gossard also did backing vocals on the album, though “Around the Bend” is mostly lead vocal-centric.
  • Mike McCready – Guitar. McCready, Pearl Jam’s lead guitarist, probably added the delicate lead embellishments (such as any steel guitar-like slides or soft melodic fills). His touch is very restrained here, fitting the lullaby mood.
  • Jeff Ament – Bass guitar. Ament’s bass underpins the song with a simple, warm bass line. He is known for sometimes using an upright bass or fretless bass on ballads, which could add to the round, woody tone in the low end.
  • Jack Irons – Drums and percussion. Irons plays a subdued drum part, using brushes on the snare drum and cymbals to keep the rhythm whisper-quiet. Given the song was written for his son, one imagines Irons put special care into playing it tenderly. His percussion provides a heartbeat-like pulse without ever becoming forceful.

Additional musicians and technical credits for “Around the Bend” include:

  • Brendan O’Brien – Piano and production. O’Brien, the album’s producer, is credited with playing piano on this track (No Code - Wikipedia). His piano lines are subtle and supportive. As producer, O’Brien also oversaw the arrangement, recording and mixing of the song (ensuring that Vedder’s vision of a lullaby was fully realized). He has co-producer credit alongside Pearl Jam for the whole album.
  • Nick DiDia – Recording and Mixing Engineer. DiDia was the engineer who recorded the No Code sessions and helped mix the album (No Code - Wikipedia). He would have set up the microphones and levels that captured the intimate sound of “Around the Bend,” balancing instruments and vocals under O’Brien’s direction.
  • Matt Bayles, Caram Costanzo, Jeff Lane – Assistant engineers on No Code (No Code - Wikipedia). They likely assisted in setting up equipment and running the recording sessions for songs like “Around the Bend.” Their role, while behind-the-scenes, helped ensure the recording went smoothly.
  • Bob Ludwig – Mastering engineer (No Code - Wikipedia). Ludwig mastered No Code, meaning he finalized the track’s sound for the CD/vinyl release. His mastering would have ensured “Around the Bend” had the appropriate volume and EQ, preserving its dynamic softness.
  • Design and Artwork: While not directly affecting the sound of “Around the Bend,” it’s worth noting that No Code’s art direction was a collaborative effort credited to Jeff Ament, Eddie Vedder (under the alias “Jerome Turner”), and others for the concept and layout (No Code - Wikipedia). The Polaroid collage artwork is part of the album’s identity. One of these Polaroids contains the handwritten lyrics for “Around the Bend” (credited to Vedder), as all songs’ lyrics were included in the packaging.

In terms of label and management: “Around the Bend” falls under the album produced by Epic Records (Pearl Jam’s label in 1996), and would have been managed by Pearl Jam’s management team. The album’s executive producers (if any) and management aren’t typically listed for individual songs, but the band’s then-manager Kelly Curtis oversaw the project at a high level.

The credits confirm that “Around the Bend” is very much Eddie Vedder’s personal composition, supported by his bandmates and producer. Jack Irons, as the song’s dedicatee (in a sense), contributed his drumming but notably did not write this lullaby (contrary to some early fan misattributions; it was all Vedder’s writing (Around The Bend: Pearl Jam’s No Code Turns 20 | The Quietus)). The personnel on this track showcase Pearl Jam’s democracy in performance – even their lead guitarist and rock-solid bassist dialed back their usual intensity to serve the needs of the song.

Overall, the team involved in “Around the Bend” succeeded in creating the gentle atmosphere intended. Each member’s restrained performance, combined with O’Brien’s production guidance, resulted in a track that highlights Pearl Jam’s range and the importance of ensemble playing. The song is a product of a band confident enough to let simplicity and sincerity take center stage.

Fan Theories & Trivia

Over the years, “Around the Bend” has accumulated a number of interesting fan theories, interpretations, and trivia bits that add color to its story:

  • Serial Killer Interpretation (Fan Theory/Humor) – As mentioned earlier, one quirky interpretation that circulates in fan discussions (originating from Vedder’s own joke) is that “Around the Bend” could be viewed through the eyes of a serial killer singing a creepy lullaby to a victim (Around The Bend: Pearl Jam’s No Code Turns 20 | The Quietus). Fans sometimes tongue-in-cheek point out lines like “I’ll be watching as you breathe” and “how I want your soul to keep” as evidence of a potentially sinister narrator if you didn’t know the context. This theory isn’t taken seriously by most, but it’s a testament to Pearl Jam fans’ imagination and the band’s layered writing that such a dark alternative view exists. It’s often brought up in online forums whenever someone asks, “What’s a song that sounds sweet but could be creepy?” – inevitably a Pearl Jam fan will mention “Around the Bend.” Vedder himself planting that idea has given it a long life in fan lore.

  • Connection to Jack Irons’ Departure (Trivia) – An amusing piece of Pearl Jam lore ties “Around the Bend” to drummer Jack Irons’ departure from the band (in a tongue-in-cheek way). Fans joke via an old satirical post that Irons struggled with insomnia from having to sing “Around the Bend” to his son every night – apparently, he would fall asleep mid-lullaby because the song was so soothing, and this disrupted his child’s sleep, leading to Irons’ own sleep deprivation. While this story was shared humorously on the Pearl Jam fan boards (and is not literally true), it underscores how effective a lullaby “Around the Bend” is – even the drummer couldn’t get through it without dozing off! In reality, Irons left Pearl Jam in 1998 due to health and touring fatigue, but fans like to affectionately mythologize that “Around the Bend” was “too good of a lullaby” for him to handle nightly (I Ran In To Jack Irons Today And He Told Me The Real Reason Why He Left The Band. — Pearl Jam Community) (I Ran In To Jack Irons Today And He Told Me The Real Reason Why He Left The Band. — Pearl Jam Community).

  • Misattribution of Songwriting – Early on, some fans assumed Jack Irons might have written “Around the Bend” since it was for his son (and Irons has a co-writing credit on a different No Code song, “I’m Open”). However, official credits make it clear Vedder wrote it (Around The Bend: Pearl Jam’s No Code Turns 20 | The Quietus). This confusion was cleared up by interviews and Pearl Jam’s own clarification: Vedder penned it as a gift. Fan sites and even some older references had to correct this, as one fan-maintained “meanings” page once erroneously listed it as written by Jack Irons (Every Pearl Jam Album Ranked From Worst to Best: List) (The Meanings). Now trivia buffs know that “Around the Bend” is a rare case of Vedder writing from another person’s perspective (imagining what Jack would sing to his child).

  • Title Significance – Fans have discussed the phrase “around the bend” and its significance. In common usage, “around the bend” can mean “just ahead” (which fits the hopeful sun just ahead meaning) or colloquially, it can mean “crazy” (e.g., “going around the bend”). Some fans like to think there’s a playful double meaning: the song keeps you sane (prevents you from going “around the bend” mentally) by providing comfort. It’s a stretch, but this kind of wordplay is the sort of thing fans on forums enjoy dissecting. More straightforwardly, many note that “Around the Bend” as an album closer brings the listener around the bend of the album’s journey to a conclusion.

  • Album Closer Tradition – A bit of trivia in Pearl Jam’s discography context: “Around the Bend” is the first Pearl Jam album closer that is overtly gentle. Previous album closers (“Release,” “Indifference,” “Immortality”) had somber or heavy tones. With No Code, Pearl Jam established a mini-trend of ending albums on quieter notes – later closers like “All Those Yesterdays,” “Parting Ways,” and “Inside Job” continue this introspective vibe. Fans sometimes rank their favorite Pearl Jam album closers, and “Around the Bend” often comes up as a unique entry because it’s the only true lullaby among them. It’s trivia, but it shows how this song shifted the band’s approach to ending records.

  • Live Rarity Status – As mentioned, its scant live performances make “Around the Bend” a collectible song for concert setlist enthusiasts. By 2021, Pearl Jam had played it in only 9 of the previous 25 years – a statistic fans readily share (Around The Bend 2013 — Pearl Jam Community) (Around the Bend by Pearl Jam Song Statistics | setlist.fm). This puts it in the company of songs like “Strangest Tribe” or “Education” as deep cuts that seldom surface. A fun fan term for such songs is “White Whales” (borrowed from Moby Dick), meaning a song a fan chases to hear live. “Around the Bend” is a White Whale for many, and fans who have caught it live often boast about it on fan forums (with good-natured envy from others).

  • Overlap with Other Songs Named “Around the Bend” – Trivia: Pearl Jam’s “Around the Bend” shouldn’t be confused with the rock song “Up Around the Bend” by Creedence Clearwater Revival (CCR). Occasionally someone sees the title and assumes a connection, but they are entirely different songs. CCR’s is a raucous 1970 hit about looking forward to good times on the road; Pearl Jam’s is a lullaby. The similarity in titles is coincidental, though amusingly, Pearl Jam are known to cover classic rock songs – they have covered CCR in concert, but not that particular song. For clarity, fans sometimes specify “Around the Bend (Pearl Jam)” when talking about it, since Randy Travis (a country artist) also has an album called Around the Bend. It’s a minor point of confusion in trivia games or online searches.

  • Cultural Footprint – While “Around the Bend” hasn’t appeared in movie soundtracks or TV shows (likely due to its obscurity), it did have a subtle cultural impact: some fans report that hearing it helped them through personal hard times, using it almost like a meditation or prayer. It’s not uncommon to find a comment on a forum like, “I sang ‘Around the Bend’ to calm myself during a rough patch.” This speaks to the fan interpretation of the song as not just for children, but for anyone in need of solace. In Pearl Jam fan culture, the song is sometimes recommended to newcomers as “something different if you only know the hits.” That makes it a secret handshake of sorts – if someone says their favorite Pearl Jam song is “Around the Bend,” you know they’re a deep-cut fan.

All these tidbits underscore how “Around the Bend” has a life beyond just the album track – it lives in stories fans tell, jokes they make, and personal moments they share. It might not be the most famous Pearl Jam song, but its unique role as the band’s lullaby gives it a special place in Pearl Jam mythology and fan affection.

Comparative Analysis

When comparing “Around the Bend” to other works, both within Pearl Jam’s discography and in the broader rock genre, its distinctive qualities and influences become clear. Within Pearl Jam’s own catalog, the song is an outlier in its tenderness, yet it shares DNA with a few other tracks:

  • One comparison is with “Release”, the closing track of Pearl Jam’s debut album Ten. Like “Around the Bend,” “Release” is slow, emotional, and serves as a cathartic album finale. However, “Release” is a soaring, anguished cry from son to deceased father, layered with electric guitars and reverb, whereas “Around the Bend” is a hushed lullaby from father-figure to child. Both songs reveal Vedder’s emotional depth, but through inverted dynamics – one loud and echoing, the other quiet and intimate.
  • Another parallel can be drawn to “Indifference,” which closed their second album Vs. “Indifference” has a soft, repetitive groove and a somber tone, with Vedder singing about perseverance in the face of apathy. It’s similar in tempo and minimalism to “Around the Bend,” but its mood is darker and more social-commentary. “Around the Bend” by contrast offers hope and personal warmth. In a way, if “Indifference” leaves the listener pensive about struggle, “Around the Bend” leaves the listener soothed.
  • Pearl Jam’s No Code features another gentle number, “Off He Goes,” which is an acoustic ballad earlier in the album. While not a lullaby, “Off He Goes” shares the reflective, mellow quality and could be seen as a sibling to “Around the Bend.” Interestingly, “Off He Goes” is Vedder writing about himself (as a flawed friend) (No Code - Wikipedia), whereas “Around the Bend” is Vedder writing from someone else’s perspective. Both showcase his ability to write quietly powerful songs, and together they gave No Code a reputation for beautiful, low-key moments amid more experimental tracks.
  • Fast-forward in Pearl Jam’s timeline, one might compare “Around the Bend” to “Future Days” from their 2013 album Lightning Bolt. “Future Days” is a love ballad (Vedder wrote it as a tribute to his wife), featuring piano and an almost lullaby-like melody in parts. It’s polished and produced, more so than “Around the Bend,” but thematically it’s also about hope for tomorrow and cherishing someone. The gentleness seen in “Around the Bend” arguably paved the way for Pearl Jam to be comfortable releasing unabashed love songs like “Future Days” or “Just Breathe” (2009). In interviews, Vedder’s growth into family life and fatherhood by the 2000s made such songs more frequent – one could see “Around the Bend” as an early precursor to that direction.

Looking at songs by other artists in the genre, “Around the Bend” can be likened to a tradition of surprisingly soft album closers or lullaby-like rock songs:

  • A classic example is The Beatles’ “Good Night” (1968), which closes The Beatles (the White Album). That song was written by John Lennon for his son Julian and sung by Ringo Starr with a lush orchestral arrangement – a true lullaby at the end of an eclectic album. “Around the Bend” parallels this as it is also placed at the end of a diverse album and directly addresses a child with comforting words. Both songs show a band known for rock stepping completely into a gentle, domestic mode. The key difference: The Beatles went for a grand, cinematic lullaby, whereas Pearl Jam kept it earthy and bare-bones. Yet, the emotional intent is similar, and fans of rock history appreciate Pearl Jam’s nod (intentional or not) to that concept.
  • Another 90s alt-rock comparison is Smashing Pumpkins’ “Farewell and Goodnight” (1995), which closes the Mellon Collie and the Infinite Sadness album. That track is literally structured as a lullaby, with multiple band members taking turns singing verses to bid the listener goodnight. It has a childlike music-box quality and soft harmonies. “Around the Bend” is like Pearl Jam’s stripped-down, sincere Pacific Northwest cousin to the Pumpkins’ dreamy lullaby. Both songs indicate a mid-90s trend where even loud bands concluded their albums with a gentle goodnight to the audience.
  • In terms of lyrical theme and vibe, one could compare “Around the Bend” to “Lullaby (Goodnight, My Angel)” by Billy Joel (1993). Billy Joel’s song is a piano lullaby he wrote for his daughter, very explicitly about a father’s promise and love at bedtime. While coming from a different genre (soft rock/adult contemporary), it’s interesting to see how Pearl Jam – a grunge band – created something that could sit in a playlist next to “Lullaby (Goodnight, My Angel)” and feel of a piece. Both have simple, heartfelt lyrics addressing a child’s soul and the idea of always being there. The main difference is arrangement (Joel’s is piano/vocal with string accompaniment, very smooth; Pearl Jam’s has that raw acoustic feel).
  • On the other hand, one might contrast “Around the Bend” with another similarly titled but opposite in feel song, “Up Around the Bend” by Creedence Clearwater Revival (CCR) (1970). CCR’s song is upbeat, electric, and about excitement for what’s ahead on the road – essentially a road-trip anthem. The only real commonality is the idiom in the title. This contrast shows the diversity of rock: two songs with almost the same title can be utterly different in mood and meaning. For trivia, Pearl Jam has covered CCR songs like “Fortunate Son,” but when it comes to singing about something “around the bend,” Pearl Jam took the phrase into the realm of lullaby rather than road anthem.

Comparatively, “Around the Bend” also highlights Pearl Jam’s versatility against their grunge-era peers. Most Seattle grunge bands didn’t venture into outright lullabies on their main albums. Nirvana had soft songs (“Polly,” “Something in the Way”) but those carried dark, unsettling themes (both, interestingly, also about quiet moments but with disturbing undercurrents). Alice in Chains would do acoustic EPs, but their tone was often bleak. Pearl Jam managed to create a quiet song that is genuinely comforting, which was a unique move. In that sense, “Around the Bend” might align more with the lineage of folk-rock or singer-songwriter traditions than with grunge. One could imagine it being sung by a folksy artist like Nick Drake or Cat Stevens in an earlier era, as it has that timeless lullaby chord structure and gentleness.

In conclusion, “Around the Bend” holds its own when compared to other works by Pearl Jam and others by carving out a niche: it’s Pearl Jam’s tender goodnight song, comparable to the classic rock tradition of heartfelt album closers (à la The Beatles), yet also a product of the band’s specific context and growth. It demonstrated Pearl Jam’s ability to defy genre pigeonholes – showing that the band that roared “Even Flow” could also whisper a lullaby. This breadth is part of Pearl Jam’s identity, and “Around the Bend” is a key reference point in discussions of the band’s dynamic range. Fans and critics alike, when comparing Pearl Jam’s songs, often use “Around the Bend” as the gentle benchmark on one end of the spectrum (with something like “Blood” or “Go” on the opposite heavy end). This contrast in Pearl Jam’s catalog amplifies just how special “Around the Bend” is: it’s the softest side of a hard rock band, executed with sincerity and skill that invite favorable comparisons to some of the best lullaby-like moments in rock history.

Sources:

  1. Pearl Jam “No Code” album Wikipedia – Background, release info, and song credits (No Code - Wikipedia) (No Code - Wikipedia) (No Code - Wikipedia)
  2. Spokesman-Review (1996) – Interview with Pearl Jam; Vedder’s comments on “Around the Bend” being a lullaby for Jack Irons’ son (Is Pearl Jam’s Shooting Star On A Downward Spiral?)
  3. The Quietus – No Code 20th Anniversary article by J.R. Moores – Song interpretation and Vedder’s alternate “serial killer” quote (Around The Bend: Pearl Jam’s No Code Turns 20 | The Quietus)
  4. More Than Ten (Pearl Jam fan blog) – Analysis of “Around the Bend” (2007) by Michael, describing production and lyrical nuances (Around the Bend – More Than Ten) (Around the Bend – More Than Ten)
  5. Angelfire Pearl Jam Lyrics Archive – Full lyrics of “Around the Bend” for reference (No Code Lyrics) (No Code Lyrics)
  6. Setlist.fm – Statistics on live performances of “Around the Bend” by Pearl Jam and side projects (Around the Bend by Pearl Jam Song Statistics | setlist.fm) (Around the Bend by Pearl Jam Song Statistics | setlist.fm)
  7. Sputnikmusic – No Code album review (2005) by User “Med57,” critique of “Around the Bend” (Pearl Jam - No Code (album review 8) | Sputnikmusic)
  8. AllMusic – No Code review by Stephen Thomas Erlewine, praising the ballads including “Around the Bend”