Jack Antonoff, who has flown to London from New York to talk about his latest album as Bleachers, seems disengaged during our meal at the fancy Chiltern Firehouse. He is easily distracted by a deserted baseball cap, my drink, and the possibility of catching Covid in the crowded dining area. He inquires if people still get infected and suggests moving outside despite the chilly weather. To ensure the quality of the recording, he worries about the impact of “ambient noise” from adjacent tables. He even suggests that I ask the couple beside us to move to another table, which he finds amusing.
Although he’s clearly suffering from jet lag, it’s difficult to pinpoint the root of his nervous energy. It could be attributed to the quirky neuroticism that Antonoff showcases in his music with Bleachers, which is inspired by Springsteen and is full of self-mythologizing lyrics. Alternatively, it might stem from his self-awareness about his celebrity status as a prominent pop producer, having worked with the likes of Lorde, St Vincent, Taylor Swift, Lana Del Rey, and the 1975. During our conversation, we even played a game of word association similar to therapy sessions, which is how Antonoff approaches his songwriting. For instance, when I said “Mother,” he instantly replied with “Want!” Both of us were taken aback by this, and Antonoff quipped, “Paging Dr Freud!”
Antonoff, despite his easily-distracted nature, is a delightful person to be with. This has led to the online speculation that he has become a favorite among the top female pop stars due to his amazing company. Originating from New Jersey, Antonoff began his music career in the 2000s with Steel Train, an indie-rock band that was relatively unknown. He later joined Fun in 2008, and their song, We Are Young, which mimicked Queen’s style, earned them a one-hit wonder status in 2011. In 2012, he ventured into music production, working with Canadian pop sensations Carly Rae Jepsen and Tegan and Sara.
His rise to fame started with his relationship with Lena Dunham, the creator of Girls, which lasted for five years and landed him in the pages of tabloids. At around the same time, Antonoff was invited by Taylor Swift to collaborate on her 2014 album, 1989, which helped establish his credibility as a music producer. He went on to produce half of Swift’s follow-up album, Reputation, which received mixed reviews from some listeners. However, Antonoff remained confident in his work and thought that those who did not appreciate it were missing out on something great.
When engaging in conversation with Antonoff, his energy is so infectious that it reminds me of a scene from Taylor Swift’s 2020 documentary Miss Americana where the two effortlessly created Getaway Car for her album Reputation. It’s a testament to their creative chemistry, similar to how the Beatles worked on Get Back as portrayed in Peter Jackson’s documentary. However, despite Antonoff’s success in shaping the sound of the past decade, he has received criticism for supposedly producing underwhelming records for artists like Lorde’s Solar Power and for creating similar sounds across multiple projects. Despite this, Antonoff has worked with a wide range of artists from Florence + the Machine, the Chicks, Grimes, Pink, Troye Sivan, Diana Ross, and Spoon, showcasing his versatility and ability to adapt to different styles. From Del Rey’s sultry modern tunes to St. Vincent’s disco-inspired tracks, Antonoff’s impressive portfolio speaks for itself.
Critics have been critical of the tastefulness of Jack Antonoff’s productions, with a viral essay in July coining the term “Antonoffication” to describe the supposed “hollow, cinematic bigness” present in his work. While Max Martin and Rick Rubin have also had a significant influence on pop music, Antonoff seems to provoke stronger opinions among listeners. However, his band Bleachers has received only mediocre critical reviews. Antonoff is aware of these conversations about his work and acknowledges that it can be difficult for people to understand his productions because he does a variety of things. He describes the coverage of his career as an “endless labyrinth” but believes that the work speaks for itself and is not for him to define.
Despite criticism that his work sounds similar, musician Jack Antonoff dismisses these claims and points out that the same critics often include his work on their best-of lists. He acknowledges that some of his ideas may be regurgitated but claims he is accustomed to being misunderstood. Antonoff’s new album, Bleachers, explores a shift from living life in tribute of lost loved ones to making room for personal growth and contentment in relationships. The album is more peaceful and mature than previous works and features less thundering drums and reverb. Antonoff admits his past views on love were emotionally immature and that he channeled his tortured artistry into his work. While he acknowledges that all of his songs are deep and scary, he hopes to bring more sincerity, earnestness, and emotion to his work without the fear of being beaten out by cultural norms.
Antonoff tackles the concept of self-respect in his latest single, “Self Respect,” inspired by a line from Florence Welch. He expresses exhaustion at the pressure to conform to others’ definitions of coherence and consistency. Instead, he desires the freedom to be messy and prioritize his own happiness, health, and awareness without denying himself or claiming moral superiority. Antonoff disclaims any specific career goals or fears of losing his superproducer status, emphasizing his focus on being present and in control of what matters most to him. His ultimate goal is to find that feeling of contentment, even if it means carving away the excess in his life to achieve it.
