Jack Antonoff On Stepping Out of Pop’s Center
“People call it Brat Summer — it should be called ‘artist development summer,’ ” Jack Antonoff jokes on a mid-September afternoon, sitting on the rooftop of New York’s Electric Lady Studios and reflecting on the past few months in pop music. Charli XCX, whose brat album helped define the season, is an old friend of Antonoff’s — they co-headlined a 2015 tour called Charli and Jack Do America — and he points out that her 2024 success speaks to a larger movement of artists creating their own mainstream niches instead of latching on to trends.
“Sabrina [Carpenter], Charli and Chappell Roan — the three of them have had this shared experience of artists who have been crystallizing, and that’s where you get gems,” Antonoff says of a trio of pop talents who have dominated recent cultural discourse. “And that’s the story of being an artist. That’s true artist development. And it doesn’t matter where we are in tech or streaming or anything — the only way to win is to create your own language.”
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This year, Antonoff has had a direct hand in abetting artistic evolution at different levels of stardom — helping a longtime collaborator, Taylor Swift, shape-shift while staying on top of the pop world, as well as a rising artist, Carpenter, secure her place on the A-list. For the latter, Antonoff produced and co-wrote four songs on Carpenter’s new album, Short n’ Sweet — including her first Billboard Hot 100 chart-topper, “Please Please Please” — allowing the pop singer’s sardonic tics to shine on her way to arena-headliner status.
“No one deserves it more,” Antonoff says of the former Disney Channel star, who has released six albums by the age of 25. “Sabrina’s been quietly growing, and her albums have been getting more awesome, and she’s been honing her sound and performances. It’s not like she just popped onto the scene — this has been a decade of grinding toward it.”
During the week that Short n’ Sweet was released in August, Swift’s The Tortured Poets Department — on which Antonoff contributed to 16 songs across both of its volumes — spent its 15th week atop the Billboard 200, the longest run at No. 1 of any Swift project. Swift announced The Tortured Poets Department on the night of the 2024 Grammys, where previous full-length Midnights was awarded album of the year and she set the record for the most career wins in the category.
This year, Antonoff’s work with Swift and Carpenter — along with the self-titled fourth album from his long-running band, Bleachers, which arrived in March — could help him notch his sixth consecutive Grammy nomination for a producer of the year, non-classical, a category that he has won the past three years. If Antonoff takes home the trophy at the 2025 ceremony, he would set a record as the only four-peat in the 50-year history of the award.
“It would be a really [nice] resolve to a really special period,” says Antonoff’s manager, Jamie Oborne. “If it’s based on the work alone and the broad spectrum of work, I can’t imagine anyone else winning.”
Instead of functioning as a victory lap for Swift, The Tortured Poets Department was emotionally unguarded and knowingly messy, dividing critics and inspiring immediate fan devotion on its way to the biggest first-week debut of her career. “The best bodies of work are when people drill into the most personal, the most if-you-know-you-know kind of stuff,” Antonoff says. “I think the depth of [Tortured Poets Department] was surprising to people because I think people are constantly surprised when artists continue to be artists. You see so many people take the wrong turn and pander and become terrified of what they could lose. That’s the recipe for all the worst music, and I can only relate to people who don’t give a f–k. That next body of work — it doesn’t matter how big your audience is, it either comes from the depths of you or it doesn’t. And I love that album so much because the whole thing is so remarkably vulnerable.”
That ethos helps explain why, in the midst of a record-setting run as a pop studio whiz, Antonoff keeps pushing his creativity into unfamiliar areas. After producing the April soundtrack to the Apple TV+ fashion drama The New Look, which included Antonoff pals like Lana Del Rey and The 1975 covering early-20th-century songs, he also signed on to provide original music for a Broadway revival of Romeo + Juliet, which began previews in late September. More recently, he unveiled early plans for his Public Studios initiative, which, with the help of The Ally Coalition, will build studios in LGBTQ+ youth shelters and create a network of engineers to help train those interested in production — free of charge.
Antonoff also deconstructed the first Bleachers album, 2014’s Strange Desire, for a 10th-anniversary rework dubbed A Stranger Desired, released in September. And amid all of the projects, he foremost describes 2024 as “a touring year,” having led Bleachers on a global trek that will culminate with a headlining gig at Madison Square Garden in New York on Oct. 4.
He admits that he gets asked about his schedule by the people around him — friends curious about his balancing act and why he hasn’t zeroed in on the more successful pieces of his artistry. “My hunger to make things hasn’t changed since I was like 14,” Antonoff says with a chuckle, “but the context for people has changed.” When asked about the idea of winning four consecutive Grammys for producer of the year, Antonoff returns to the idea of artist development — that even when he’s receiving what he describes as “a huge honor,” his priority remains “protecting that zone” that allows him to grow as an artist and person.
“I really don’t let anything get in the way of that,” Antonoff says. “I keep my head down and I go back to work.”
This story appears in the Oct. 5, 2024, issue of Billboard.
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