Ghost in the Machine (song)

"Ghost in the Machine" is a song by American singer-songwriter SZA from her second studio album, SOS (2022), featuring American singer-songwriter Phoebe Bridgers. The song is an indie pop and R&B ballad that music critics described as a cross between SZA's and Bridgers's respective musical styles. The conversational lyrics express disillusionment with inauthentic relationships and artificial intelligence, with SZA craving for more humanity from everyone and asking her lover to provide her escapism from a world she sees has been consumed by vanity. The collaboration began with an online conversation between Bridgers and SZA; the two rapidly completed the song a week before the album was scheduled for release.

"Ghost in the Machine"
Song by SZA featuring Phoebe Bridgers
from the album SOS
Written2022
ReleasedDecember 9, 2022 (2022-12-09)
Recorded2022
Genre
Length3:38
Label
Songwriter(s)
Producer(s)
  • Rob Bisel
  • Carter Lang
Lyric video
"Ghost in the Machine" on YouTube

The song was Bridgers' first top 40 song in the United States, peaking at number 40 on the Billboard Hot 100. Elsewhere, it appeared on national charts in Australia, Canada, and Portugal. The song received positive reviews from music critics, with praise focused on the chemistry between SZA and Bridgers. Some critics expected the pairing to sound more disjointed than it ultimately did. "Ghost in the Machine" gave Bridgers her first win at the Grammy Awards and helped her become the most awarded person at its 2024 ceremony, specifically winning the Best Pop Duo/Group Performance award.

Background edit

SZA released her debut studio album, Ctrl, in 2017. Primarily an R&B album that deals with themes like heartbreak, it received widespread acclaim for SZA's vocal performance, the musical style, as well as the songwriting. The album brought SZA to mainstream fame, and critics credit it with establishing her status as a major figure in contemporary pop and R&B music and pushing the boundaries of the R&B genre.[note 1]

From April to May 2022, SZA told media outlets that she had recently finished the album in Hawaii and said that it was coming soon.[6] Wanting to experiment with genres she had not yet incorporated in her discography, she envisioned it to be an amalgamation of various disparate musical styles, or "a little bit of everything" in her words. While some tracks had an "aggressive" sound, certain others were balladic, soft, or heartfelt.[7]

During the build-up to the album's release, SZA created a list of possible collaborators for the album. The roster included artists like Billie Eilish, Harry Styles, Olivia Rodrigo, Doja Cat, Drake, and Kendrick Lamar.[8] Of the several more artists she contacted, only three people sent their verses: Don Toliver, Travis Scott, and Phoebe Bridgers.[9] Toliver and Scott appear in the tracks "Used" and "Open Arms", respectively, while Bridgers contributed vocals for "Ghost in the Machine".[10][11]

Music and production edit

Phoebe Bridgers (left) collaborated with SZA for "Ghost in the Machine".

Having been categorized as an R&B artist throughout her career, which she believed was because she was a Black woman,[12] SZA sought to prove her musical versatility and combine the R&B sound that had been a staple of her past works[13][14] with a diverse set of other genres and soundscapes.[15] "Super alternative and strange" was how she described "Ghost in the Machine",[16] and she told Hot 97's Nessa that it was not "going to sound like how people think it's gonna sound".[17]

"Ghost in the Machine" is a midtempo ballad,[18] featuring a stringed and simple[19] electronic production[20] that switches to a piano backing during Bridgers' verse.[21] SZA's voice, as described by Ken Tucker for NPR, "snake[s] in and around the melody" and "bends and breaks with hopelessness".[22] She harmonizes her vocals with Bridgers' to match each other's vocal timbres,[19][23] and they deliver their verses breathily.[24][25] Critics described the song as an intersection between SZA's R&B style and Bridgers' alternative, indie pop style;[26][27] Sidney Madden of NPR Music directly called the song indie pop,[28] while John Amen of Beats Per Minute write the song's construction was rooted in "sad-girl pop".[29]

The making of "Ghost in the Machine" began in 2022 with a drum loop by Matt Cohn, credited as an additional producer in the liner notes, followed by piano and keyboard notes from Rob Bisel.[30] The latter two instruments were acquired by Bisel within a week of "Ghost in the Machine" and "Kill Bill" being written, and he stated that both songs were partly inspired by his experimentation with "new toy[s]".[31] Joined by Carter Lang, Bisel worked on improving and overhauling the "Ghost in the Machine" demo before showing it to SZA, a few days after recording another SOS song, "Blind". At the middle of the demo was an open instrumental section, where Bisel thought Bridgers would fit, so he suggested a feature from her to SZA, to which she agreed.[30]

While Bisel was trying to make the feature happen through his publisher,[30] SZA personally contacted Bridgers through online messages in their first interaction together.[32] The turnaround time for completing "Ghost in the Machine" was fast.[33] Bridgers came to the studio for sessions a week or two after being asked to feature,[30] recording her vocals a week before the album's scheduled release.[34] She at first wanted to provide background harmonies only, but she received encouragement from Bisel and the others to record a full verse. They liked her first take and kept it for the final song, almost identical except for some cut-out parts.[30]

Lyrics edit

Similar to other SOS tracks like "Snooze" and "Kill Bill", writing "Ghost in the Machine" was a spontaneous feat; it took SZA 20 to 30 minutes to write her verses.[30] The lyrics are written in a conversational style[35] and primarily explores feelings of disillusionment, which come in part from experiencing excessive negativity on the Internet.[11] SZA told Alternative Press that she was motivated to write the song out of exhaustion around the constant fighting between people on Internet spaces such as Instagram over morality, which she believed was at the expense of meaningful connections: "I feel like there's so much debate about what's good, what's bad, what's this, what's that?"[35]

In "Ghost in the Machine", SZA, tired of online drama,[11] sings about wanting more humanity in a world she believes has been overtaken by self-centeredness and lack of empathy. She reinforces the message with a skit from Sadhguru, an Indian guru who is the founder of the Isha Foundation, who says in the outro that "those who have forsaken their humanity [...] like to patch their life with morality."[36] Artificial intelligence is another topic discussed in the song. SZA blames it for the perceived lack in meaningful human connections[18] and, while craving humanity, envies how robots have a future and do not feel tired unlike her.[21][37] American Songwriter's Thomas Galindo interpreted the line as showing her anxiety with the growing influence of artificial intelligence within the music industry,[21] whereas Nylon's Steffanee Wang wrote that she expressed a need to stop being treated like a machine by her job.[15]

SZA turns to a lover for escapism and gratification, to assuage her disillusionment with modern relationships and distract herself from an ambiguous disaster that Tucker thinks could mean either the end of their romance or the world.[38] Time's Andrew R. Chow wrote that she asks for help even if she feels drained from the romance, which he added was one of the album's recurring themes;[27] she sings: "can you touch on me and not call me after? Can you hate on me and mask it with laughter?"[21] SZA then invokes a reference to the Bible, one of many such instances on SOS, inviting the lover to take her to the Ark of the Covenant and asks for the password.[36]

Bridgers's verse begins with the lyric, "You said all my friends are on my payroll / You're not wrong, you're an asshole", which Alexis Petridis of The Guardian wrote was evocative of "tension clearly compounded by fame and success".[39] Angie Martoccio of Rolling Stone connected the lyric to a statement from Bridgers about eliminating negativity in her circles by "hir[ing her] best friends" as part of her crew.[40] She sings about the Ludlow Hotel in New York City alongside a non-descript airport bar, where she finds herself in arguments with a romantic partner.[20][21] The lyrics were interpreted by several publications as being about their then-boyfriend, Irish actor Paul Mescal.[41][42]

Release edit

During a Billboard cover story published in November 2022, SZA revealed the album title, as well as the release date which was scheduled sometime the following month.[43] She posted the album's track list on Twitter on December 5, 2022, and SOS was released four days later. Out of 23 songs, "Ghost in the Machine" appears as the 12th track.[44][45] It peaked at number 40 on the Billboard Hot 100,[46] becoming Bridgers' first top 40 song in the United States,[47] and appeared on the national charts in Canada, Australia, and Portugal.[note 2] On the Billboard Global 200, the song peaked at number 52.[48]

"Ghost in the Machine" had its live performance debut on March 4, 2023, at the Madison Square Garden in New York City as part of the international SOS Tour. Bridgers appeared as the concert's surprise guest, who joined SZA to perform her verse.[49][50] The two duetted the song again during the last show of the tour's third leg, on March 23, 2023, at Inglewood's Kia Forum.[51]

Critical reception edit

Critics primarily focused on whether SZA and Bridgers fitted together on the song, and many praised their efforts as successful despite their different musical styles.[52][53] Chow wrote that "Ghost in the Machine" was the best collaboration on SOS, reasoning that the feature was bound to work because the two musicians' discographies overlap significantly in terms of subject matter, which prevented an "awkward" genre crossover for Bridgers: "it has often felt like the two of them are anxious, horny Spider-Men pointing at each other from across the genre-verse."[27] Shaad D'Souza of The Saturday Paper praised the collaboration as a "smart match" between "Bridgers' ultraliteral indie-folk" and "SZA's wide-eyed earnestness".[54] Others commented that the sound, while unexpected in the context of the album, was nonetheless cohesive and polished.[13][55][56]

There were some critics less appreciative of the album's themes and guest feature. Rolling Stone's Will Dukes considered the exploration of artificial intelligence a contrived effort, akin to a "Black Mirror trope about the AI Art Generator".[57] CJ Thorpe-Tracey for The Quietus felt that Bridgers appeared only to give SZA a "magic indie countercultural 'good for business' aura", adding that his annoyance was compounded by how she had had too many guest appearances on others' albums within the same year.[58] Paul Attard for Slant Magazine also found the guest feature unnecessary, while also feeling like the indietronica backing was one of the album's missteps with regards to genre experimentation.[59]

SZA received nine nominations at the 2024 Grammy Awards for her work on SOS and its tracks, including "Ghost in the Machine", being the most awarded artist for the year.[60] The song won the Best Pop Duo/Group Performance award, which gave Bridgers her first Grammys win.[61] As a member of Boygenius, she also won Best Rock Song and Best Rock Performance for "Not Strong Enough" and Best Alternative Music Album for The Record.[62] With four wins, she was the most awarded artist in the ceremony.[37]

Credits edit

Recording and management

Personnel

  • Solána Rowe (SZA) – songwriting
  • Rob Bisel – songwriting, production, keyboards, drums, piano, choir, engineering, mixing
  • Carter Lang – songwriting, production, keyboards, drums, piano, choir
  • Matt Cohn – songwriting, additional production, drums
  • Marshall Vore – songwriting
  • Phoebe Bridgers[a] – songwriting
  • Sadhguru – skit
  • Hayden Duncan – assistant engineering
  • Syd Tagle – assistant engineering
  • Robert N. Johnson – assistant engineering
  • Tony Berg – vocal production (for Bridgers)
  • Ethan Gruska – vocal production (for Bridgers)
  • Will Maclellan – vocal engineering (for Bridgers)
  • Dale Becker – mastering
  • Katie Harvey – assistant mastering
  • Noah McCorkle – assistant mastering

Note

  1. ^ Appears courtesy of Dead Oceans

Charts edit

Weekly charts edit

Weekly chart performance for "Ghost in the Machine"
Chart (2022) Peak
position
Australia (ARIA)[63] 72
Canada (Canadian Hot 100)[64] 46
Global 200 (Billboard)[48] 52
Portugal (AFP)[65] 121
UK Audio Streaming (OCC)[66] 96
US Billboard Hot 100[46] 40
US Hot R&B/Hip-Hop Songs (Billboard)[67] 17

Year-end charts edit

Year-end chart performance for "Ghost in the Machine"
Chart (2023) Position
US Hot R&B/Hip-Hop Songs (Billboard)[68] 65

Certifications edit

Certifications for "Ghost in the Machine"
Region Certification Certified units/sales
Brazil (Pro-Música Brasil)[69] Gold 20,000
Canada (Music Canada)[70] Platinum 80,000
United States (RIAA)[71] Platinum 1,000,000

Sales+streaming figures based on certification alone.

Notes edit

References edit

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