It’s taken a few decades, but Jack Antonoff is almost at the point where he doesn’t feel like an underdog any more.
“I’ve been thinking a lot about recognising where I’m at,” he says, and while “you can’t adjust your soul”, it’d be false at this point to behave like a misunderstood shitkicker, even if it stems from a legacy truth. “We all have our levels of feeling othered and misunderstood that we bring all over the place.”
To some, his work for predominantly women artists is cause for interrogation. To others, he is unavoidable, and criticisms of him hint at some frustration with that ubiquity. The fact he produced not one but two of the records nominated for album of the year at last month’s Grammys might be seen as either evidence of his Midas touch, or more fuel for the fire.
The “feral rant” of feeling the pieces click together while making a song has a time limit on it, Antonoff says. “It’s like this language that some people speak in for a period of time,” or a short-term guest that packs up and leaves when the mood strikes. “It’s like artistic mortality, in a way. On one hand it’s terrifying, but the other hand it’s beautiful.”For Antonoff, he began speaking this new dialect at age 13 or 14.
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