In addition to his well-acknowledged collaboration with top artists like Taylor Swift, Lorde, and Lana Del Rey, Jack Antonoff is also known as the lead vocalist of Bleachers. Since the release of the indie band’s third album in 2021, he has made significant changes to his personal life, notably his marriage to Margaret Qualley, the actress daughter of Andie MacDowell, which has apparently influenced his recent songs. His softer-sounding Me Before You centres on the self-sacrifice required in any meaningful relationship, while Woke Up Today encapsulates the sensations of achieving personal goals with its acoustic undercurrents.
It’s clear Antonoff’s emotional expressions are genuine, yet his lyricism occasionally seems like an afterthought. Alma Mater, which was co-written and features Lana Del Rey, along with several other songs, seems like a jumbled collection of semi-meaningless phrases. We Are Going to Know Each Other Forever poses the arguably absurd question “Does anyone leave their home city and truly thrive?”. Jesus Is Dead, in part a tribute to the music scene in NYC during the Meet Me in the Bathroom era, includes the statement: “Jesus is dead and so’s New York.”
The musical foundation of this album appears fragile at best. Antonoff’s influences are clear, although in this instance, he seems to rely on them rather than incorporate them more seamlessly. The album’s first track, I Am Right on Time, encapsulates Springsteen-like balladry, while Modern Girl heads straight into classic E Street Band territory with its sax solos and retro 1980s production.
The soft synthesised rock and fluffy production of Self Respect and Call Me After Midnight suggest the album could be confused with one from The 1975; it’s not surprising given that Bleachers are now under contract with the British band’s label.
Although it has its commendable moments, this album’s entirety isn’t all praise-worthy. Specifically, “Jesus is Dead” from the 1970s new wave stands out impressively, notwithstanding its lyrical content. Likewise, “Tiny Moves” showcases splendid, crisp synth-pop characteristics. Nevertheless, even with the contributory input from Antonoff’s familiar circle, including Del Rey, Florence Welch, and Aaron Dessner, there’s an unfortunate dwindling momentum towards the latter part of the album, concluding with an indifferent sigh and another needless saxophone solo.