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SUMMARY;ENCODING=QUOTED-PRINTABLE:Bleachers - Forever EU/UK 2026
DESCRIPTION;ENCODING=QUOTED-PRINTABLE:The third track on Bleachers’ fifth album is called We Should Talk.=0D=0AUltimately a song about reconnecting with a lost friend, it’s also a=0D=0Atrack by the band that Jack Antonoff considers “the core” of his=0D=0Acreative work that touches on Antonoff’s start in music. “We had a=0D=0Aband, we had a life, we had dreams,” he sings, “in a van we wrote=0D=0Aour own bible supreme”, a poetic summary of the years when a teenage=0D=0AAntonoff escaped small-town New Jersey with Outline, a quartet who=0D=0Aabsorbed the influence of the punk underground, self-releasing their=0D=0AEP, cropping up on compilations called things like Bottled Violence=0D=0Aand Punk Will Never Die, booking their own shows in anarchist=0D=0Abookstores and community venues with the aid of a directory called=0D=0ABook Your Own Fucking Life. “We called what we were doing emo”, he=0D=0Anotes, “but emo to us at the time meant Fugazi and Texas Is The=0D=0AReason, so a very different context fromt oday”. =0D=0A=0D=0AThey piled into Antonoff’s family minivan, Book Your Own Fucking=0D=0ALife in hand, and set out to tour America, albeit with a very New=0D=0AJersey chip on their shoulder. “When we started, I was 14, we were=0D=0Aplaying in fire halls and VFW halls, and 15 miles away The Strokes=0D=0Awere playing their first shows at the Mercury Lounge in Manhattan,”=0D=0Ahe remembers. “We wouldn’t have even fucking considered going to=0D=0Asee them, not because we were too poor, not because we couldn’t get=0D=0Aout of the house, but because we were like, ‘oh, fuck that New York=0D=0Ascene’. We were from another planet. New Jersey, it’s separated=0D=0Afrom Manhattan by this body of water, like a medieval moat, which=0D=0Apeople do not cross. There’s this whole sentiment of, ‘oh well,=0D=0Athat’s how they do it in the city’, that everything New York is=0D=0Afamous for is better in Jersey: bagels, pizza, sleaze, all of it.=0D=0AWhich is true.” =0D=0A=0D=0ATouring with Outline and his subsequent band, the folkier Steel Train,=0D=0Awas a hardscrabble life. “We must have played 250 shows a year, for=0D=0Afive to ten years straight, in a time when being in a band wasn’t=0D=0Asomething that, like, your parents would brag about,” he smiles.=0D=0A“And it was magical. It left me with a massive love of being a=0D=0Atouring artist. Why does a person have that bizarre bone in their body=0D=0Athat makes them want to be onstage in front of all these people=0D=0Asweating and screaming together?” He shrugs. “I do.” =0D=0A=0D=0APerhaps that’s one of the reasons Antonoff started Bleachers in the=0D=0Afirst place. It certainly wasn’t for want of something to do. In=0D=0A2013, his career as a songwriter and producer was on the verge of=0D=0Agoing stratospheric, something it duly did. And yet, he says, “I=0D=0Afelt so anxious. I felt a lot of fear at the time. I was 26 or 27, a=0D=0Atransitional phase, the age where you go from fun person to alcoholic=0D=0Aor good hang to person with no job. To this day, I love working with=0D=0Apeople on songs, but once again, that’s just part of what I do, so=0D=0Awhen that started to take off, I just remember the wild anxiety of=0D=0A‘this thing I do, I’m experiencing a lot of success for other=0D=0Acorners of it’.” =0D=0A=0D=0AThe solution was to form his own band, in which he was the lead=0D=0Avocalist and chief songwriter, and start playing clubs again. In the=0D=0Ayears since their 2014 debut album Strange Desire, Bleachers have=0D=0Agradually built from playing The Met in Pawtucket to headlining=0D=0AMadison Square Gardens, from a debut album recorded piecemeal in hotel=0D=0Arooms while Antonoff was touring with Fun to collaborations with=0D=0Aeveryone from Atlanta hip hop architects Organized Noise to=0D=0AAntonoff’s teenage hero Bruce Springsteen, the latter a progenitor=0D=0Aof what he calls “a very New Jersey sound that we all know but=0D=0Athat’s underdiscussed, that very few people are putting a name to,=0D=0Aand I feel very dead set on carry the torch for”. =0D=0A=0D=0AAnd, most importantly, along the way, Bleachers built a rabidly=0D=0Aengaged fanbase that Antonoff says are “like a family”.=0D=0A“There’s this air in the room when we play shows that that these=0D=0Aare the people that get me, because it’s true, they do,” he nods:=0D=0Ano small thing for someone who says he’s “always felt extremely=0D=0Amisunderstood”. “I think it’s really against people’s idea of=0D=0Ame that that the band’s culture could be that real. You wouldn’t=0D=0Acome to a Bleachers show because you liked an album I produced for=0D=0Asomeone else. It’s such a culture and such a scene. I feel how=0D=0Athey’re doing in life and it affects me. You know, we’re together=0D=0Athrough a lot of things. When you’re on tour, for example, and=0D=0Alet’s say there’s been a huge news event, like a mass shooting=0D=0Asomewhere, you see everyone feeling it, and you literally talk about=0D=0Ait, maybe even change the set list. That’s the most acute version,=0D=0Abut it’s deeper than that. You grow with them, and new people come,=0D=0Abut it’s like a colony where they’re all sucked up into the=0D=0Aculture. You see how they see you, you see the art they make, the=0D=0Ajokes they make, you’re not going online to catch the tenor of the=0D=0Atimes: that’s real people, I see what they’re going through. The=0D=0Abiggest thing I’ve taken away is how much people want to be=0D=0Atogether, how much people want something they can actually believe in=0D=0Athat isn’t… making fun of them. I think people are really=0D=0Aexhausted with being the butt of the joke.” =0D=0A=0D=0AOne of the reasons Bleachers have attracted the audience they have is=0D=0Athat, as Antonoff points out, their songs are “deeply” earnest and=0D=0Ahugely personal, in the teeth of what he calls “the world daring us=0D=0Anot to give a fuck”: you could, if you wished, see Antonoff’s=0D=0Adiaristic lyrics as a kind of call-back to the soul-bearing world of=0D=0Aemo from which he initially sprang. “If you cut someone open, what=0D=0Awould they sound like?” he says. “I would sound like this. I think=0D=0Athat’s often frowned upon, but it just seems so incredibly=0D=0Aunfulfilling to do it any other way. I have It’s scarier than ever=0D=0Ato be so clear about it, but I feel bolder than ever, because I have=0D=0Anothing to lose at this point. Not that I ever did, but, Jesus Christ,=0D=0Aeven more so now. As someone who loves and cares about culture, it’s=0D=0Alike I have space now for my wife, my family, my band and my audience.=0D=0AI think it’s really important for people to know that if you’re=0D=0Anot part of any of those groups, it’s nothing, it’s zero.=0D=0AIronically, I feel like it’s the people that aren’t part of any of=0D=0Athese groups that matter to any of us that are guiding conversations.=0D=0AIt’s like it’s 99.999% of sane people are watching 0.0001% of the=0D=0Apopulation screaming and then reacting to it, even though we know=0D=0Ait’s not real. The thing that I find fascinating at this point in=0D=0Atime is that so many of us are investing in things that we know we=0D=0Adon’t care about.” =0D=0A=0D=0AThe songs on Everyone For Ten Minutes are about things Jack Antonoff=0D=0Acares about. Marriage, generational divides, grief, death and our=0D=0Ainability to talk about death and what he calls the “monumentally=0D=0Abizarre moment in culture” that we’re currently experiencing:=0D=0Aamong the bonus tracks lurks On The Roof At ELS, a straightforward=0D=0Apaen to the simple pleasure of drinking with friends after a recording=0D=0Asession at Electric Lady, the legendary New York studio that’s=0D=0Abecome Antonoff’s second home and where Everyone For Ten Minutes was=0D=0Arecorded. Set to music that leaps from harmony-laden folk rock to=0D=0Ashimmering pop-soul to sax-assisted examples of the aforementioned New=0D=0AJersey sound, they’re variously heartrendingly sad, lividly angry=0D=0Aand blackly comic. And despite the moments where it peers into=0D=0Adarkness, Antonoff says it’s an essentially optimistic album, which=0D=0Afits his current mood. “Usually I find myself pretty hopeful. Like I=0D=0Areally am very, very hopeful, even right now, I have a lot of hope,=0D=0Aspecifically in art. There’s not a lot else to believe in, you=0D=0Aknow?” =0D=0A=0D=0AAnd then he turns back to the idea of Bleachers’ audience being like=0D=0Aan extended family. “Your average idiot would tell you the way to=0D=0Aservice an audience would be to give them what they want, but the=0D=0Aexact opposite is true. The only way to really be cruel to your=0D=0Aaudience is to be inauthentic, because people feel it and they get=0D=0Asad, because when someone’s inauthentic, essentially what they’re=0D=0Asaying is that they think the audience is dumb. What’s so lovely=0D=0Aabout playing live and making records and being in this long=0D=0Aconversation with a group of people – it’s very easy for them to=0D=0Aspot any bullshit, because they actually really know you, like=0D=0Athere’s a real relationship there. The biggest lifeblood for me is=0D=0Athat connection, so if there’s ever a time to deepen it….”=0D=0A
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CLASS:PUBLIC
DTSTART:20261115T200000
DTSTAMP:20261112T122233
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