Dan Auerbach and Patrick Carney of The Black Keys recently sat down with Broken Records to discuss their upcoming album, their ever-evolving sound, and the challenges of touring in today’s industry.
The duo is putting the finishing touches on their next project, No Rain No Flowers, which has been in the works since July. With most of the tracking completed by mid-December, they’re heading to Los Angeles to finalize the mixes. The album, set to feature 11 tracks out of 20 recorded, includes collaborations with pianist-songwriter Rick Nowels, adding a fresh layer to their signature sound.
Reflecting on their evolution, Auerbach and Carney discussed how their recording approach has transformed over the years. While Delta Kream (2021) was a stripped-down jam session with no overdubs, their latest work leans into a more polished production style. From their Brothers era—where they built tracks around bass and drums—to experimenting with different mixing engineers like Chad Blake, Spike Stent, and Manny Marroquin, they’ve consistently pushed their sound forward.
The Black Keys credit legendary UK DJ John Peel as an early champion, recalling visits to his sprawling estate and his vast, meticulously archived record collection. Music magazines like Magnet and Ray Gun also played a crucial role in their formative years, shaping their musical tastes long before streaming made discovery more accessible.
Despite technological shifts, Auerbach and Carney remain dedicated listeners, spending at least an hour daily digging through records. Their “record hangs” — DJing 45s and unearthing hidden gems — have deepened their appreciation for overlooked songs with hit potential.
While The Black Keys continue to thrive, they acknowledge how drastically touring has changed. Despite rising ticket prices, the financial burden of touring—higher costs for buses, hotels, and staff—has made it less viable for many artists. They now prefer mid-size venues (4,000-6,000 capacity) and shorter tour runs, typically capping at three weeks.
Carney also referenced fellow artist Kate Nash, who recently spoke out about the financial struggles of touring, emphasizing that even established acts are feeling the strain.
Auerbach’s love for primitive blues and Fat Possum Records continues to influence his artistry. Both musicians prefer raw, unpolished recordings, particularly for blues and jazz, rejecting the overly processed sounds of certain eras—especially ‘80s digital reverb, which Carney admits he personally dislikes. They’ve even experimented with unconventional recording techniques, like swinging a microphone in front of an amp to capture unique sonic textures.
As The Black Keys prepare to roll out No Rain No Flowers, their conversation sheds light on their dedication to authenticity—both in their music and in navigating the ever-changing industry.
