Jack Antonoff on the 7 Habits of Highly Effective Producers

“If you meet someone whom you believe you could do something valuable with — which is why I end up doing more than one record with some people, because it’s very rare to find those connections — how dare you not explore that?” he says, sitting on a couch inside his studio at New York’s famed Electric Lady.

Over the past year, Antonoff has heavily contributed to three Taylor Swift albums, multiple Lana Del Rey projects and new releases from St. Vincent and The Chicks. He also helmed a just-released album by Clairo and an upcoming one from Lorde, and he’ll embark on a 33-date Bleachers tour in September. It’s a head-spinning amount of work, but Antonoff gets by with a little help from his friends — and cooking videos.

I’ve finally figured out this huge separation between craft and process. Craft is like, “I know how all these things work.” I know how to make that Mellotron [keyboard] sound how I want it to sound. I know how to put it through that tape echo. If something needs to feel like a dream, or like a nightmare, I can do it. That’s great. But none of that helps you get to the core of an idea. Those are all the clothing you put some [ideas] in.

There’s always this phase of me working, and then at some point I see the album and then really start zeroing in on it. This album was always about breaking out, knocking at the door of the next phase of your life. What I didn’t realize is how much the quarantine would cause me to want to be with the band in a room. At first it was like, “I can’t play, so I want to have my guys around.

Whether I’m in a big studio or at the little one in my apartment, I’m just hearing things differently because I’m in a different space. It’s pretty emotionally driven — I seem to write better at home — but then there’s also sonic and social elements. I wrote a lot of the Bleachers record alone, but then Patrik and I were at Electric Lady, and I got into a more performative kind of writing. I need both, and most people I work with seem to need both, too.

The goal isn’t to “do your thing” on someone else’s music — the goal is to make the best, most alive version of this vision. So, in a weird way, it’s inherent that these [albums] end up sounding totally different, because no two people who are real artists have the same ideas, even if we’re in the same cultural dialogue. Some people might have more of a signature sound, and that’s cool.

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