Thanks for Four Years of Awesome
So Long, and Thanks for All the Fish
Blogged Around Philly: Farewell Edition
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It's pretty much impossible not to admire Andrew McMahon. The mastermind behind Jack's Mannequin, and Something Corporate before that, McMahon has taken the whiny-ness of emo out of autobiographical pop-rock and delivered music that's expressive without being overwrought, thoughtful but not overthought. We've told you all of this before, and advised you to make sure you catch McMahon's Jack's Mannequin outfit whenever the band is in town. So now we're telling you: Jack's Mannequin is in town, or at least, will be on Monday night. The show is sold out, but if you scour craigslist, there are tickets to be had. And trust us, Jack's Mannequin is well worth paying a mark-up for.
We had the chance to ask Andrew a few questions in anticipation of his upcoming performance, so read on and enjoy, and we hope we'll see you at the Factory on Monday night.
You've always reflected, very honestly, what's going on in your life with Jack's Mannequin's music—especially with The Glass Passenger and the Dear Jack documentary and EP, which all document in some way your battle with leukemia. So we've got to ask what you're up to now, and what we can expect the next Jack's Mannequin album to tell us about where you're at in your life?
I'm in a great place right now. Getting Passenger and the documentary out really helped me clear the deck of a lot of the heaviness attached to the illness. It's made it possible for me to get back to writing the everyday stuff. Finding art in the simple transactions in life is what I love to do the most. I finally feel like I'm in that place again, and that's been great.
Can we expect the Dear Jack songs to appear on the next full-length album or during concerts?
We've been doing "Diane, the Skyscraper," as well as the solo version of "Swim." I've played "There, There Katie" solo on a few tours as well. I doubt they'll make the next record. I like the idea of the movie having its own piece of music and leaving it at that.
You've collaborated with Tommy Lee, and more recently with The Academy Is... and Elliot Minor. Are there any artists you'd particularly like to collaborate with in the future? We know more than a few people here in Philly who would kill for an Andrew McMahon-?uestlove collaboration.
Shit, that would be amazing—to work with ?uestlove. I've been doing some writing with Matt Thiessen from Relient K, which has been such a rewarding experiment. I've also had the good fortune to play with Steve Ferrone from The Heartbreakers and Pete Thomas from Elvis Costello's band recently, which has been an honor. I'm really loving this new chapter in my career. Playing, writing, and working in the studio with tons of different people has really become a new mission for me. I feel like I'm learning so much.
We've noticed at your shows that your audience spans a pretty wide age range, from teenagers on up to people almost twice your age. Given that your songs really seem to reflect where you are in your life at that specific time, what do you think it is that draws such a wide audience?
I've always believed in writing from the most honest place possible. As a high school kid in Something Corporate, I was writing those kinds of songs so kids really related. I've never been afraid to talk about what's real to me, even when it was petty, young stuff. Sometimes that didn't get me a lot of love from people who couldn't relate, but I think the philosophy has paid off as I've gotten older. At 27, your life experiences start being a little more relate-able in both directions age-wise. I hope we never lose the younger kids, though. I think that's when you've started to lose your edge and stopped making something modern. I believe in making modern music.
Last time we saw you, you pulled out a song that we'd never heard of before, and which you said (if we remember correctly) you'll probably never record: "Hey Hey Hey, We're All Gonna Die." Could you talk a little about that song, and why don't you think you'll ever record it?
I did go ahead and record the tune last February. It was going to be on the Dear Jack EP, but I loved it too much and felt like it deserved a bigger audience. In some ways it was a huge catalyst to me wanting to make a new record so soon after Passenger. It's tricky though, because with all the drama that inspired Passenger so far behind me now, I worry about including it on the next album. For me it's a great bridge between the last chapter of my life and the newest, but I would hate for people to say, "Oh here he goes with another life and death jam." That said, if it's right, it's right, and I'll take the criticism if it makes the record better.
"Hey Hey Hey..." references the TLA, on South Street, and we understand that you went vegetarian on that tour, so we have to ask: Did you have trouble resisting the urge to head to Jim's for a greasy, diet-busting cheesesteak?
I guess I break all sorts of promises in Philly. Haha. I'm definitely not a veggie anymore, though I do lean that direction. [But] I've never been a red meat dude, so cheesesteaks aren't really my thing, as sacrilegious as that is to admit to a local.
One of your openers at that TLA show was fun., who is back on the road with you for this tour. How did you get hooked up with fun.?
Nate and I are old friends from the Something Corporate/Format days. Not to mention Jack from Steel Train, who used to be my label mate. One day Jack called to let me know he and Nate were working together, and I said I want to be the first one to take you guys out. The rest is history. We brought them out acoustic on the first tour for Passenger before their record was done, and I thought it was such a killer, full-circle kind of thing to bring them out again so our fans could see that initial vision realized. Aside from that, Nate has that thing that I've only seen in a handful of singers since I've been touring. Some extra spark or ability to connect with an audience. I feel like I work a little harder every night because I'm watching a master work before I hit the stage. That'll keep you on your toes!
What would you tell fans who think they'll take the, "Eh, I'll just skip the openers and just get to the show in time for Jack's Mannequin" approach to change their minds?
Their loss. Both openers—Vedera and fun.—are great bands with great songs. We brought talent on this tour who also happen to be amazing people. They're both definitely worth coming early for.
We've seen you play at what was then called the Tweeter Center, the TLA, Festival Pier, and the Electric Factory, where you'll be playing Monday. Do you have a favorite Philly venue?
Electric Factory for sure. Nothing against the other buildings, which are also a lot of fun to play, but I have made so many memories in the Factory I am always happy to go back.
We think a good way to wrap up is with this: Are there any particular Philly-related stories you remember from your early days playing places like the TLA that you can share?
More than I could even dig into. One of the most memorable was in SoCo days when we did the co-headliner with Yellowcard. We had a two night stand at the Electric Factory, so we threw a party the first night. All the bands, crews, and our friends basically had the run of the joint until early morning. It was pretty special. I just remember being all bent up in the huge community dressing room writing piano parts to hip-hop tunes. It was one of those nights that sort of shift into legend for the people who were there. I probably invented half of it in my brain...
Jack's Mannequin, with fun. and Vedera
Monday, 3/1/10
7:30 p.m., all ages
Electric Factory, 421 N. 7th St.
Tickets: SOLD OUT (so see what you can find on craigslist)
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