Ooh Wee, from his 2003 album Here Comes the Fuzz, is still ubiquitous 18 years after its release, thanks partly to its usage in an ad for Domino’s Pizza. Indeed, relative to many pop producers, Ronson has been a steady presence, long after his defining work with Winehouse on Back to Black and their cover of the Zutons’ Valerie. But maybe now I am going to just be the guy who talks about music instead of making it – and that’s OK as well.” “I had a really wonderful run and I enjoyed the shit out of it. “I wasn’t into the stuff I was making.” When Amy was going through addiction, I wish I’d been a little bit more upfront or confrontational about itīetween hosting the TV show and a new interview podcast for the Fader magazine, it seemed to indicate to Ronson the start of a “new phase” in his career. “It was its own sort of high, weirdly, to wake up in the same bed,” he says.īut, after three months spent mostly alone in an Airbnb in London, with only a laptop for making music, his creative output “was just getting worse”, he says. Three weeks of lockdown was the longest Ronson had gone in his professional life without taking a flight: a small slice of normal life. But the soul-searching primed him for the pandemic. “You play out the realistic scenarios of what happens: if your song does not become a hit, your life is not over.”Īs it turned out, Nothing Breaks Like a Heart – Ronson’s Dixie-disco single with Miley Cyrus – ended up charting at No 2. In particular, he recommends David D Burns’ book The Feeling Good Handbook, which includes exercises to stop negative thought spirals. He groans when I mention it now: “I hate talking about therapy, because I hate reading about it.” But he says it has made him “a more stable, balanced, less anxious person”. Promoting Late Night Feelings, his album of “sad bangers”, the following year, Ronson spoke of his efforts to connect with his emotions, define himself less by his work and become a “whole person”. Since then it has mostly been kept in check by regular therapy. It betrays a baseline existential anxiety that has been present since childhood, worsened by fame, which peaked with his divorce in 2018 (from the actor Joséphine de La Baume). At one point, he directly addresses his right biceps, tattooed with the heart-shaped mirrorball from the cover of his 2019 album, Late Night Feelings. Photograph: Jamie McCarthy/WireImageīut, even on a video call, Ronson squirms in his seat to avoid making eye contact, his head in his hands, his hands on his head. with his sisters Charlotte (left) and Samantha and their mother, Ann Dexter-Jones.
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