The 2010s File Feature
Bad Things
Chart History and Background: "Bad Things" by Machine Gun Kelly and Camila Cabello "Bad Things" was released by Machine Gun Kelly and Camila Cabello on Septe…
01 The Story
Chart History and Background: "Bad Things" by Machine Gun Kelly and Camila Cabello
"Bad Things" was released by Machine Gun Kelly and Camila Cabello on September 23, 2016, and became one of the most commercially successful songs of the winter of 2016 and early 2017, demonstrating the pop crossover potential of both artists at a pivotal moment in each of their careers. The track was written by Machine Gun Kelly, born Colson Baker, alongside Camila Cabello, Tor Hermansen and Mikkel Storleer Eriksen of the production duo Stargate, and Eskil Harrang. Production was handled by Stargate, the Norwegian duo whose credits across the previous two decades had included some of the biggest pop and R&B hits in recorded music history, working with artists including Beyonce, Rihanna, and Ne-Yo.
The song was released through Bad Boy Records and Interscope Records as part of Machine Gun Kelly's promotion for his third studio album, Bloom, which arrived in May 2017. For Cabello, the song arrived at a transitional moment: she was still an official member of Fifth Harmony at the time of the song's release, though she would announce her departure from the group in December 2016. "Bad Things" thus functioned as an early demonstration of her capacity as a solo pop artist, coming as industry observers were beginning to widely discuss whether she would eventually pursue an individual career.
On the Billboard Hot 100, "Bad Things" was a sustained commercial force, peaking at number four in February 2017 and spending more than twenty weeks on the chart. The song was certified four times platinum by the RIAA and was a significant commercial performer on streaming platforms throughout its promotional window. Its radio performance was equally strong, receiving heavy rotation on Top 40 and Hot AC formats, where the combination of Machine Gun Kelly's rap verses and Cabello's melodically compelling hook gave the track a versatility that worked across dayparts and listener demographics.
The track samples the 1966 recording "I Put a Spell on You" by the band Creedence Clearwater Revival's protege project, though the more prominent reference is the original Screamin' Jay Hawkins version of that song. The sample was cleared and credited appropriately, and its incorporation gave the track a gothic, blues-inflected undertone that contrasted interestingly with the contemporary pop and rap production elements. This combination of classic rock/blues heritage with modern radio production was itself a statement of musical range and contributed to the song's broad appeal.
Machine Gun Kelly had been building his career in the hip-hop world since the early 2010s, known for a rapid-fire delivery style and a willingness to work across genre boundaries. His collaboration with Cabello was part of a pattern of genre-crossing work that would eventually lead to his full transition into pop-punk territory in the early 2020s, but at this point in his career the pop collaboration represented an expansion rather than a departure. Cabello's vocal performance on the track drew widespread praise, with reviewers noting her ability to convey emotional urgency and vulnerability within a commercially polished production context.
The music video, which accompanied the single's release, placed both artists in a romantic, slightly gothic visual environment consistent with the song's thematic content about attraction to dangerous or unconventional relationships. The visual treatment emphasized the chemistry between the two performers and drew significant viewership, accumulating hundreds of millions of plays on YouTube. The video's success contributed to the song's strong position on the YouTube and VEVO viewership charts, which at that time still held significant weight in overall chart calculations alongside audio streaming.
At the 2017 Billboard Music Awards, "Bad Things" was recognized in competitive categories reflecting its commercial performance, and the song's nominations contributed to both artists' broader visibility in the mainstream pop awards circuit. The track's continued presence on streaming platforms years after its initial release has contributed to its status as a canonical entry in both artists' catalogs, particularly as Cabello subsequently became one of the most commercially successful solo pop artists of the late 2010s and Machine Gun Kelly evolved into a pop-punk crossover figure of significant commercial stature.
The song was also notable for how effectively it used the Stargate production framework to bridge genuinely different artistic worlds. At the time of its release, the pairing of a rapper with a pop vocalist on a major commercial single was not unusual, but the specific combination of Machine Gun Kelly's rock and rap sensibilities with Cabello's classical pop training created a track that sounded immediately singular. Stargate's long experience navigating exactly these kinds of genre intersections, having previously bridged R&B and pop, gospel and hip-hop, and various other combinations, meant the collaboration had an experienced creative hand keeping the production coherent and radio-ready. The song's ongoing commercial performance in streaming playlists, particularly those oriented toward early-2017 nostalgia and pop-rap crossover content, confirms that it found an enduring place in the cultural memory of its release period.
02 Song Meaning
Meaning and Themes: "Bad Things" by Machine Gun Kelly and Camila Cabello
"Bad Things" is built around the familiar but perennially resonant tension between desire and good judgment: the narrator finds herself wanting someone who she knows, or at least suspects, is not good for her, and the song is an honest acknowledgment of that conflict without resolving it neatly in either direction. The "bad things" of the title are double-edged, referring both to the potentially harmful nature of the relationship being described and to the specific physical desires that the song communicates through its emotional urgency.
The collaboration between Machine Gun Kelly and Camila Cabello creates a dual-perspective structure that gives the song a dynamic quality absent from solo recordings of similar themes. The call-and-response element between their voices suggests two people who are in dialogue with each other about a shared situation, each articulating their own version of the attraction and the risk. This dialogue format makes the theme of mutual, slightly dangerous desire more convincing than a single narrator's account could achieve, because it implies that both parties are equally invested and equally aware of the complicated nature of what they are entering.
The gothic undertone in the production, anchored by the blues-inflected sample, serves the song's thematic content by establishing a sonic atmosphere of something charged, slightly ominous, and intensely attractive. The use of a vintage blues and rock source connects the song to a tradition of music about dangerous desire that runs deep in American popular music history, invoking without explicitly naming the long lineage of songs about compulsive attraction to people and situations that are known to be risky. That lineage gives the song cultural depth beyond its immediate pop context.
Cabello's voice carries a quality of genuine yearning that is fundamental to the song's emotional effectiveness. Her delivery communicates not just the intellectual acknowledgment that the situation is complicated but the visceral experience of wanting anyway, despite the complication. This tension between knowing and feeling is one of the most universal of human experiences, and the song's commercial success reflected how accurately and accessibly it captured that tension. Listeners across a wide range of ages and backgrounds could locate themselves within the emotional scenario the song describes.
The song is also interesting as a piece of genre-crossing cultural production. Machine Gun Kelly's rap verses operate differently from Cabello's melodic passages, establishing his perspective through a more rhythmically charged delivery that emphasizes desire and pursuit, while her contributions carry more of the emotional ambivalence and vulnerability. This gendered distribution of emotional registers is worth noting as a structural element, though the song avoids reducing either performer to a simple emotional type. Both characters in the song are complex, and both are drawn to the situation despite or because of its difficulty.
The enduring quality of "Bad Things" in streaming playlists and on radio is connected to how efficiently it delivers its emotional payload. The song reaches its emotional core quickly and maintains it consistently throughout, never allowing the listener to drift out of the state of charged, slightly anxious romantic anticipation that defines the experience the song describes. This emotional efficiency, reaching a listener's feeling-state and holding it there with minimal structural distraction, is one of the most valuable and hardest-to-teach qualities in commercial songwriting, and it is executed here with considerable craft. The collaborative nature of the song, with two distinct voices working through the same emotional scenario from different angles, enhances rather than complicates this efficiency, giving the listener multiple points of identification within a single listening experience.
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