There is a sharp juxtaposition between the title of Bleachers’ second full-length album Gone Now and its content. In fact, the lyrics across the album’s 12 tracks seem to long for things left behind – safety, familiarity, memories – before slowly drawing us back home.
When Jack Antonoff released Strange Desire under the name Bleachers in 2014, it felt full of promise as a potential side project with legs. The success of that debut and the subsequent dissolving of fun. has changed the narrative completely. During the past three years, Antonoff has become a household name thanks partly to his role as hit songwriter for the likes of Taylor Swift, Lorde and more.
This rapid turn of events helped elevate Gone Now to one of the year’s most anticipated releases. Did Antonoff deliver? Yes, but the reasons why are complicated. Gone Now further realizes the true pop potential of Bleachers, but the resulting collection of songs fire in such different directions that it’s hard to keep up.
Gone Now certainly takes its share of opportunities to relish in Antonoff’s own brand of synthpop, especially on early singles like “Don’t Take the Money” and “Hate That You Know Me”, but it refuses to follow a single thread. “Everybody Loves Somebody” features big drums and horns, sounding like it could have belonged to fun.’s follow up to Some Nights. Likewise, you can almost hear Nate Ruess’ voice atop the folksy banjo on “I’m Ready to Move On”, while the 80s-inspired powerpop banger “Let’s Get Married” sparkles with Hot A/C glee.
If it weren’t for Antonoff’s clever songwriting, Gone Now could easily have flown off the rails in any number of directions. Instead, consistent themes and lyrics are woven throughout each of the tracks to help provide focus, with frequent hellos and goodbyes to “upstairs neighbors” and “the kids downstairs”. It’s expert storytelling as Antonoff shakes away his pop stardom in an effort to find balance. “Hey, I know I was lost, but I miss those days” he tells us in one of many moments that acknowledge the lure of the past he wishes to leave behind.
It’s clear that Antonoff had every intention of weaving Gone Now in just this manner, even if it leaves some listeners troubled that he couldn’t just pick a sound and stick to it. Perhaps that’s part of the album’s brilliance in an age of streaming. Want to digest the story in one stream of thought? Want to cherry pick tracks to queue up as your mood dictates? The choice is yours, and you really can’t go wrong.
On Bleachers’ upcoming tour in support of the album, fans will have the opportunity to walk through Antonoff’s childhood bedroom, which is traveling along to provide a glimpse into the space that inspired a young Jack. It’s another purposefully sharp inverse image of his struggle, but it speaks to a greater truth. No matter where our lives take us, we can always find home along the way.
Antonoff’s skill and transparency give him the all-too-rare opportunity to be a likable pop star, even if he can’t seem to decide if that’s what he really wants. Either way, Gone Now will provide plenty to chew on and dance to as the summer passes through, no matter which direction you’re traveling.
by Kiel Hauck
Kiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.