Baltimore Sun

Musical mastermind as inescapabl­e as ‘Minions’

Producer Antonoff adds his zeitgeist-y touch to soundtrack

- By Mikael Wood

For a guy who got his first big break with a song called “We Are Young,” Jack Antonoff sure seems fixated on old music.

At the Bonnaroo festival in Tennessee in June, Antonoff — former guitarist of the pop-rock trio fun., whose 2012 smash about youth won song of the year at the Grammy Awards — convened a bunch of musician pals for an all-star tribute to his birth year of 1984.

Later that month, he played in California with his group, Bleachers, which stopped channeling Bruce Springstee­n’s time-honored thoughts on girls and New Jersey only to cover Tom Waits’ “Jersey Girl.”

A few days after that show, the latest “Minions” movie landed in theaters with an Antonoffas­sembled soundtrack of indelible ’70s hits newly recorded by the likes of Thundercat, Kali Uchis, St. Vincent, H.E.R. and Caroline Polachek. “Minions: The Rise of Gru,” as the animated film is called, set a Fourth of July box office record, which almost certainly means that millions more gradeschoo­lers have now heard “Fly Like an Eagle” than before.

It’s no wonder Antonoff, 38, keeps rifling through the used bins: Old music is big business these days, with catalog material accounting for 70% of what was streamed last year on services such as Spotify and Apple Music, according to MRC Data. Thanks in large part to TikTok, vintage tunes like Fleetwood Mac’s “Dreams” and Matthew Wilder’s “Break My Stride” have surged onto streaming charts; Kate Bush’s

“Running Up That Hill (A Deal with God)” hit the

Hot 100 after it was prominentl­y featured in Netflix’s “Stranger Things.”

Indeed, “The Rise of Gru” isn’t this summer’s only Hollywood blockbuste­r with a soundtrack of familiar melodies. For his splashy take on the life of Elvis Presley, Baz Luhrmann recruited Doja Cat, Eminem, Kacey Musgraves and Stevie Nicks, among others, to punch up Presley’s music, while “Top Gun: Maverick” recycles Kenny Loggins’ “Danger Zone” to accompany a nearly shot-for-shot recreation of the original film’s opening sequence.

Yet Antonoff ’s retro leanings have actually made him a major player shaping the sound of modern pop. More than Bleachers — a moderately successful alt-rock radio act — what he’s best known for is his

production and songwritin­g for superstars including Taylor Swift and Lorde and acclaimed critics’ faves such as Lana Del Rey, Clairo and St. Vincent. When the Chicks got back together a couple of years ago (minus the “Dixie”), the groundbrea­king country trio hired Antonoff to oversee their return; when Olivia Rodrigo revised the credits for her album “Sour” to acknowledg­e some crucial inspiratio­ns (and perhaps to stave off a copyright lawsuit or two), Antonoff ’s name was among those added. At April’s Grammys ceremony, he was named producer of the year — one of four Grammys he has won, along with fun.’s two, for his behind-the-scenes studio work.

Antonoff ’s touch — his ability to blend classic and cutting-edge, cult and mass, intimate and anthemic —

has proven sufficient­ly zeitgeist-y that he has started attracting older musicians eager to connect with fans of the millennial and Gen Z artists who idolize them: Diana Ross and Earth, Wind & Fire’s Verdine White both appear on the “Rise of Gru” soundtrack, while Springstee­n himself puts in a cameo on Bleachers’ third LP, 2021’s “Take the Sadness Out of Saturday Night,” which got no higher than No. 27 on the Billboard 200 but which scored Bleachers a last-minute booking on “Saturday Night Live” in January after Roddy Ricch bailed due to a COVID-19 exposure.

So what is it precisely that Antonoff does? In interviews, he routinely describes his production approach as an act of emotional availabili­ty — establishi­ng a secure environmen­t for artists to express themselves, then responding in a way that encourages them to keep going further than they otherwise might. Whatever arrangemen­t he helps devise depends entirely, in his telling, on where the artist has led him. “Production isn’t someone with the coolest snare sound,” he told the LA Times in 2019. “Production is the idea.”

It’s a willful throwback to a more collaborat­ive, explorator­y age before hit-makers like Max Martin and the Neptunes provided pop stars and rappers with nearly finished tracks awaiting a marquee vocal performanc­e; it’s also, in the wake of sexual abuse allegation­s against the once-powerful Dr. Luke, a shrewd assurance of his respect for women in the workplace. So inescapabl­e did he seem last year that a mild backlash began forming among listeners who felt he’d overplayed his hand as a female ally — at least until he turned up yet again as Florence Welch’s right-hand man on Florence + the Machine’s well-received “Dance Fever.”

Still, that framing downplays Antonoff ’s reliance on a variety of sonic hallmarks: booming drums, airy synths, snaking guitar lines, reverb-drenched vocals, each rooted in a lifetime of obsessive listening and tinkering with both instrument­s and software. That you can detect his fingerprin­ts throughout the songs from “Minions” — even in cuts as distinct as Phoebe Bridgers’ winsome take on the Carpenters’ “Goodbye to Love” and Brockhampt­on’s swaggering run through “Hollywood Swinging” by Kool & the Gang — is an indication of how finely he has honed his textural palette.

Antonoff, an occasional tabloid presence thanks to his relationsh­ips with actors Lena Dunham and Margaret Qualley, isn’t alone in his flair for slightly denaturing sounds familiar to any music fan.

Smart, young-ish acts curious about the history of pop and rock — your Haims and Vampire Weekends and Lady Gagas — have sought out other writerprod­ucers such as Ariel Rechtshaid, Rostam, Blake Mills and Tame Impala’s Kevin Parker, the last of whom teamed with Ross and Antonoff for a standout original, “Turn Up the Sunshine,” for “The Rise of Gru.”

Taken together, these guys’ efforts reflect an era in which the creative instinct has grown inseparabl­e from the curatorial one — when the only way to say something honest about your life is to acknowledg­e that each of your experience­s was shaped by those who experience­d and then sang about them before you did.

 ?? DANIA MAXWELL/LOS ANGELES TIMES ?? Jack Antonoff, seen June 29 in Los Angeles, is known for his production and songwritin­g.
DANIA MAXWELL/LOS ANGELES TIMES Jack Antonoff, seen June 29 in Los Angeles, is known for his production and songwritin­g.

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