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Jack Antonoff hopes the music industry has been taking notes

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Jack Antonoff hopes the music industry has been taking notes

As a music enthusiast who’s been around the block a few times, I can say that Jack Antonoff’s journey is nothing short of inspiring. When Fun. was making waves and he was pouring his heart into the first Bleachers album, there were folks who questioned his choices, thinking it was all about ego. But Jack, in true artistic spirit, just wanted to feel himself, something he didn’t quite find at that moment.

Jack Antonoff wonders aloud, ‘Who do I miss at the moment?’ He answers, ‘Nancy Meyers. It seems like she’s taken some time off lately.’

Standing amidst the verdant garden outside his personal recording studio in Hollywood, the Grammy-winning musician, songwriter, and Bleachers frontman can be found. Interestingly enough, this serene setting seems to have been plucked straight from one of Meyers’ visually captivating romantic comedy sets. Palm trees sway gently, a sleek built-in barbecue graces the area, and a refrigerated drawer stocked with chilled sparkling waters adds a touch of luxury.

Antonoff expresses his viewpoint, stating, “I believe we’re moving past the era where films need to portray a raw, gritty reality, and I find that refreshing.” He then adds, “With Nancy Meyers, for instance – whose latest film is ‘The Intern’ from 2015 – much of the criticism was about the unrealistic kitchens. To which I say, exactly, that’s what makes it appealing.

Born from the gritty punk scene in New Jersey, Jack Antonoff, now 40, might seem an unusual admirer of Meyers. However, he’s clearly thriving in his polished blockbuster phase. This year alone, he’s contributed significantly to Taylor Swift’s “The Tortured Poets Department” and Sabrina Carpenter’s “Short n’ Sweet,” both predicted to receive numerous Grammy nominations when announced on Nov. 8. He also collaborated on a track by Kendrick Lamar (“6:16 in L.A.”) as part of Lamar’s high-profile feud with Drake. Additionally, he supported Bleachers’ latest album on tour, created music for a new Broadway production of “Romeo and Juliet,” and has settled into married life with actress Margaret Qualley, whom he married last year near their home in New Jersey.

On a recent afternoon at his studio, prior to a Bleachers performance at the Greek Theatre, Antonoff reflected on everything that had happened. During the show, his father made an appearance and played along with the band in a performance of “How Dare You Want More.

Are you usually accommodated in a hotel when you’re in L.A., or do you have a residence there?

It turns out I’m on tour, which is odd since I don’t particularly enjoy traveling. However, I adore performing live shows. Interestingly enough, this has become my profession. Now, for this specific tour, I carefully planned it out – almost like a tour manager in my mind since I’ve done it so often. If the drive isn’t more than five hours, I schedule it so you can sleep at a hotel, wake up at 9, and arrive on time for soundcheck. I find joy in long car rides, listening to music, enduring the urge to use the restroom, and then finally stopping to grab some interesting snacks along the way.

Jack Antonoff hopes the music industry has been taking notes ×

You’re known to jump into the audience during a Bleachers show. You ever get skeeved out being touched by so many people?
One of the reasons I do what I do is because when I’m playing, that’s about the only two hours in my life when I don’t think about that. I’ve been described as a next-level germaphobe. Still wear a mask on the plane — I’m not worried about COVID, I just think they’re disgusting. Haven’t touched a doorknob since, you know, 1990. But I have a great relief of my demons when I get onstage.

This year, you reached the milestone of turning 40, and it’s stirred up quite a mix of feelings for me. While I don’t wish for life to come to an end, nor do I relish its rapid pace – that sense of fleeting time can be quite daunting. However, I find solace in the fact that many of my artistic idols have continued to contribute significantly to their respective fields as they aged.

In your tweet after the release of “The Tortured Poets Department”, you referred to yourself as a “Down Bad” head. What is it about this song that resonates with you so deeply? For me, it encapsulates the fluctuating nature of human experiences so perfectly – I’m dancing one moment, driving in the dark the next. Am I crying or am I sharing an intimate moment with someone? It has a unique ability to transport me, similar to my favorite songs, where it immerses me in a particular state or feeling.

Is there a specific sound that you feel a sense of pride over?

This phrase really evokes a strong image for me, and I find it true for “August,” “Cruel Summer,” and Lana Del Rey’s “Venice Bitch.” They immerse you so deeply in their worlds, making it seem as though they were spontaneously created rather than carefully planned. Unlike some songs that take ages to craft, these just appear suddenly, like out of thin air.

The song “I Can Do It With a Broken Heart” seems incredibly grounded and real to me, as if I can hear the thoughtfulness in its creation. It’s a blend of Taylor’s poignant lyrics that express sadness with an upbeat tune filled with humor and joy. This contrast represents the struggle of maintaining a strong persona while dealing with the challenges of constant limelight.

Do you ever find yourself in that same timeless state, where today seems like an eternity and yesterday is already gone? It’s a feeling I know all too well. You’re suddenly confronted with the thought of tomorrow and the regrets of yesterday. Have your actions today left an impact you can’t undo? Are you so far along this path that there’s no turning back, and if so, what does that mean for the future? What will happen when I become a parent, if these choices I make now shape my destiny then?

Jack Antonoff hopes the music industry has been taking notes ×

Do those intrusive thoughts ever happen while you’re playing?
Never.

You’re completely immersed until your exit from the stage, but it’s a potentially hazardous period since I could easily devour an entire pizza within those 10 minutes. It’s somewhat like being in a trance. While I’m not fully conscious during that heightened state, my body seems to have an incredible appetite for food.

Instead of gorging myself on an entire pizza, I retreat to our room with the band after the performance. We discuss the show and perhaps indulge in a little celebration. It’s important for us to wind down together. Later, I plan to catch up with some folks. However, once I’ve finished, I want to head to bed. I prefer being sociable before the show. It reminds me of when Bruce dropped by at Radio City [in 2022], arriving early to join us for a few songs. He was just hanging out in my room as people came and went. At one point, he looked at me and said, “I don’t know how you do this, man — I need some alone time before the show.” For the first time, I wondered if I might be doing it all wrong.

Time and again, albums like “Tortured Poets” by Taylor have been met with a more reserved response from influencers upon release. However, I have a feeling that a fresh evaluation is on the horizon. It seems some notable figures are starting to appreciate its merits.

From my perspective, time serves as the ultimate judge in our work. My team and I share this viewpoint. The longevity of a piece is what truly matters. Over the years, I’ve seen numerous projects that initially resonated with an audience, only to observe their evolution over time. Therefore, when I express indifference towards reviews, it’s not about ego. Instead, it’s more about questioning how one could care, given the dynamic nature of creative works and their transformations as they age.

It’s interesting to mention that before “Tortured Poets,” the reviews were overwhelmingly favorable. However, being artists, we always manage to find one negative comment. The system seems to be set up such that if I achieve universal praise, then a counterpoint appears. So, the moral of the story is that it’s about the work and its enduring impact. I don’t aim for momentary victories.

It seems like you’re pointing out that Fun., who were a big deal back then, with “We Are Young” at No. 1 and winning the Grammy for Song of the Year, are not mentioned much these days. This is why I decided to focus more on what I do now. I know which things will stand the test of time, and that’s why I stick with what I enjoy doing. There was a certain accidental quality about Fun., which was also what made me uneasy about it. It wasn’t my band.

Why did you find that situation stressful?
I found it stressful because as a bandleader, I’ve always been in charge. I enjoy expressing my thoughts through lyrics and sharing my personal story. My enthusiasm for touring – could I say “evangelizing” for this purpose? – stems from conveying my unique perspective and inviting others to join me. When I don’t get that connection, it loses its appeal for me. During the time when Fun. was at its peak and I was passionately working on the first Bleachers album, many people in my life would question me: “What are you doing? What is this all about? Is this just ego?” To which I responded, “No, it’s about finding yourself. And right now, I don’t feel myself.” It’s as straightforward as that.

Question about Sabrina: Can you explain why “Sharpest Tool” from “Short n’ Sweet” is your preferred track?

Jack Antonoff hopes the music industry has been taking notes ×

2024 wasn’t just the year Sabrina shined as a pop act; it was also the breakout year for Chappell Roan and Charli XCX. The appeal of these new voices might not have been so much about wanting to hear from fresh talent, but rather that they had been honing their skills for a long time before finally getting the recognition they deserved. I’ve known about Sabrina for years, and Charli has been refining her sound for over a decade. Here’s hoping the music industry is paying attention!

Is this an opportunity for the record industry to reflect on who they’ve overlooked and dismiss, rather than celebrating themselves? It’s a time to recognize that artists flourish when provided with room and creative liberty. The takeaway from a label perspective should be: Don’t pursue fleeting online trends; instead, follow your passion and conviction.

I rarely engage in second-guessing the outcomes of records that aren’t functioning well for me, as I am deeply engrossed in my own world and don’t pay much attention to other things nor form opinions about them.

To put it simply, I’m not fully convinced by what you’re saying. I pick up bits and pieces here and there, and I can discuss it freely with friends. However, I’ve never found myself thinking, “This is the correct approach.” My Spotify Wrapped at the end of each year always makes me laugh because most of my listening revolves around what I’m working on. Last year’s top song for me was the theme from “Nacho Libre” – whenever I fly with family members, I have a joke where I play it repeatedly loudly on my phone.

The final performances of Taylor’s Era tour are approaching. Shall we seize this opportunity to attend at least one more concert? I believe we should, as I wouldn’t want to miss out on such an extraordinary experience again. It’s a sight to behold and you find yourself torn between watching the show and the audience. Some of these people are so emotionally moved that it can bring tears to your eyes. The emotions they express are truly beautiful. What do you think? Shall we go?

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2024-10-13 13:31

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