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Revival is the second studio album by American singer Selena Gomez. It was released on October 9, 2015, by Interscope and Polydor Records. Gomez began planning the project in 2014, at which time she left her previous label Hollywood Records and subsequently joined Interscope and Polydor, and continued work into 2015.

Background
Gomez's debut studio album and fourth contractual record with Disney-owned Hollywood Records, Stars Dance, was released in July 2013. Garnering generally mixed reviews, the album was criticized for its sporadic, maximalist, and electronic-heavy production, and many felt the singer lacked a distinct musical personality. Slant Magazine writer Kyle Fowl went so far as to call Stars Dance a "lazy, bloated, and occasionally offensive album that lacks any remnant of personality or creativity." Gomez defended the record later in her career, saying: "I feel like there’s so many different phases of my life that I’ve lived where I would say that that’s exactly what represented me at the perfect time". Elaborating further, the singer said she was merely excited at the time to showcase more personality, after several tightly-controlled and carefully regulated albums handled near-entirely by her label and management team. Contrary to her statements however, Gomez is publicly known to dislike her debut, often avoiding the topic in interviews and making efforts to distance herself from it.

Despite a lukewarm critical response, Stars Dance peaked atop the Billboard 200 chart and spawned Gomez's first US Billboard Hot 100 top-ten, "Come & Get It", which peaked at number seven. The following month, Gomez embarked on her first concert tour. Entitled the Stars Dance Tour, the singer was set to perform in North America, Europe, Asia, and Australia starting in August, going throughout the end of 2013, and ending in the beginning of 2014. In November however it was abruptly canceled, with Gomez announcing to fans that she was unable to continue the remaining tour dates due to personal issues, saying: "My fans are so important to me and I would never want to disappoint them. But it has become clear to me and those close to me that after many years of putting my work first, I need to spend some time on myself in order to be the best person I can be." It was during this period that Gomez recorded "The Heart Wants What It Wants", which was originally intended for her debut, although it was not ready in time for submission. Gomez wrote the song during a dark stage of her life, facing both public scrutiny and undisclosed personal issues. What resulted was the singer's creative breakthrough, discovering her ability to translate emotions into lyrics by allowing herself "to be honest for the first time and not pretend that everything's okay".

Interscope Records CEO John Janick was present during the recording session, and began to discuss with Gomez where she wanted to take her career. After watching her performance in Spring Breakers, Janick was inspired to work with the singer, saying he "thought it was the perfect thing for her to do". Janick praised her transition from teen-pop star to adulthood as a natural progression, and noted unlike her contemporaries, Gomez never abandoned old fans or "where she came from". In an interview with Kelsey McKinney of Fusion, Gomez revealed that before their discussion, no one had asked or cared for her input, saying it "was the first time somebody just kind of looked and me and were like, ‘All right, so what do you wanna do?'" Two months later in January 2014, Gomez voluntarily checked herself into the Meadows clinic in Arizona, often incorrectly reported as a rehab facility. The singer was under constant media scrutiny, with tabloids and social media alike theorizing as to why she was admitted; a psychotic break stemming from her split with Justin Bieber, drug use, and alcoholism were all widely circulated among the press as being the cause. Unbeknownst to the general public, Gomez had been diagnosed with the autoimmune disease lupus, and checked into a recovery clinic to recuperate from rigorous chemotherapy sessions.

Development
Following her departure from Meadows at the end of January 2014, Gomez began a self-described "personal revival". After reevaluating her life, relationships, music and career, the singer decided to move away from home, hire a new management team, and search for a new label. During this time, Gomez became a common target for gossip magazine headlines, who often labeled her as "'desperate,' 'angry,' 'heartbroken,' 'insecure' — a girl who just couldn’t get her shit together", as noted by Olivia Malone of Refinery29. The singer struggled with constant privacy invasion, and felt unfairly attacked by the media and public alike at a time when she needed space to repair her life.

In September of the same year, Hits Daily Double reported that after seven years with Hollywood Records, Gomez was poised to sign with Interscope, working closely with Janick. During that time, Gomez accumulated sales of over 2.8 million albums and 18.1 million singles in the United States. For You, the singer's first compilation album, was released on November 24, 2014, and fulfilled her contractual obligations with Hollywood Records. "The Heart Wants What It Wants" was released as the record's sole single, which Gomez described as "therapeutic", saying: "I felt free. I felt like a huge weight was lifted off of me. That's basically what pushed me to create Revival." The following month it was revealed that despite being courted by every major label, Gomez decided to sign with Interscope Records, posting a picture with her contract to Instagram on December 13, 2014 captioned: "Guess who's officially an Interscope artist". Gomez required assurance before signing that she would retain full creative control over her music, career, image, and business ventures. According to Aaron Bay-Schuck, president of A&R for Interscope, they were fully prepared to meet the singer's needs, and never thought of denying her request. Bay-Schuck explained that Gomez came to the label with a plan to create music designed to take back control of her public image: "Before signing, Selena was vocal that she wanted to be very involved in the making of her album. She felt it was time to change her narrative and the story of her journey, and transition to a more adult artist. It all began and ended with her."

In January 2015, Billboard reported the singer had already compiled 15 songs for the album, revealing she was in the studio with frequent collaborator Rock Mafia. Inspired by the "therapeutic" process of recording and releasing "The Heart Wants What It Wants", Gomez decided to orient her album in a similar direction. Gomez admitted that in the past, she felt embarrassed to take an active role in the creative process due to her anxiety and lack of musical knowledge. However on Revival, she questioned every move her team made, unafraid to ask for clarification: "I'm like why are you doing that? Says who? Why? Tell me this, this, and this." Singer-songwriter Julia Michaels, who collaborated with the the singer on a large portion of Revival, said that although initially hesitant and guarded, "[Gomez] knew exactly what she wanted to say and she didn't hold back." Michaels explained that she observed a "sense of release" from the singer as she learned how to translate her emotions and experiences into music, saying: "She just looked like she could finally breathe again."

Taking control of her sound for the first time, Gomez herself often experienced self-doubt throughout the initial stages of the album's creation. According to the singer, she struggled to put her thoughts into lyrics "without it [sounding] so over the top". Justin Tranter, who helped co-write a majority of Revival with Gomez and Michaels, said in an interview with Spin that lyrically and sonically, the singer knew exactly what she wanted prior to meeting with him. In early 2015, Michaels booked a two-hour recording session with Tranter and producer Nick Monson to finish "tweaking" several songs, including Michaels' initial demo of "Nobody", before they were pitched to various record labels. However, it was finished in under forty-five minutes. Not wanting to waste the remaining studio time, the trio developed a skeletal version of what would eventually become "Good for You". Tranter's publisher suggested that they should send the song to Gomez's A&R, but the songwriter was skeptical that she would approve of the demo, as he felt it was "too indie" for the singer. To his surprise, Gomez was enthusiastic about "Good for You", and planned to record the track shortly thereafter. Additionally, she requested to meet the pair, and asked them to join her in the studio while she recorded it.

Recording
Gomez recorded "Good for You" uninterrupted for forty-five minutes at Interscope Studios in Santa Monica, California in early 2015; during the process, Gomez's vocals featured cracks as the song "took on this emotion [she] didn't realize [she] could tap into". The singer explained that during the beginning of the session, she was exhausted from pressuring herself to produce a cohesive sound and concept for the album. However once she began recording "Good for You" she refused to stop for a break, opting instead to capture the song's emotional intensity in it's entirety. Gomez described her initial version of the track as merely a skeleton of a song, and lacked any beat. In order to bring "Good for You" full form, Gomez chose to bring in producer Sir Nolan to rework the track. He started by upping the song's tempo, adding instrumentation, and later suggesting the idea of adding a rap verse. The singer later told MTV News that the sound, vibe, and recording process of the track set the tone for the rest of the album's recording.

It was during this time that Gomez became "super obsessed" with Michaels and Tranter, and felt like they created "magic" in the studio together, saying: "I felt like [Michaels] was me and I was [Michaels]." Before her work on Revival, Michaels had never co-written alongside an actual performer. She said that during her initial introduction to Gomez, the singer confessed to her: "I feel like you're going through the same things I am because everything you write, I feel, and it's so much a part of my life that it's almost scary." For the following three months Gomez worked primarily in Los Angeles with Michaels, Tranter, and other L.A.-based producers, including Stargate. Regarding her work with the Norwegian production duo, Gomez chose to collaborate with songwriter Chloe Angelides. After meeting, the pair began to discuss different aspects of their personal lives that could inspire their writing. The singer expressed her frustrations over the social awkwardness that ensues after a night of partying. In an interview with Time, Gomez said: "I would hang out with people and they would drink and they're so fun, then the next day it would be weird."

After departing, Angelides wrote the demo to "Sober", and presented it to the singer the following day. Gomez brought the song to Michaels and frequent collaborator Jacob Kasher Hindlin, who helped extensively rewrite it. She then went into Westlake Studios with Stargate to record "Sober", and was shown an early version of "Same Old Love", which the duo co-wrote with Charlotte Aitchison, better known as Charli XCX. The singer felt a connection to the song, as to her, it represented distancing oneself from toxic relationships, a common theme on Revival. Benny Blanco was brought in to work on the demo of "Same Old Love", and the trio tweaked the production, melodies, and lyrics, with additional help from Ross Golan. Although Aitchison wasn't present for the recording of the song, her manager was in the room, and Gomez sent her a personal thank-you message. "Cologne" was also completed during this time. Gomez, Stargate, and Angelides worked on the song with Golan and Norwegian synthpop duo Donkeyboy, composed of brothers Kent and Cato Sundberg. Additionally, the brothers produced "Cologne" alongside Stargate.

In April 2015, Gomez began to feel creatively stagnant. She decided to travel to Puerto Vallarta, Mexico, to find inspiration, and brought with her a team of writers and producers; including Michaels, Tranter, Rock Mafia, and Hit-Boy. Everyday, the group would participate in outings such as sailboating, riding ATV's, and jetskiing. Additionally, they would go into town and experience the live music local to the area, before going home at night to create music of their own in a makeshift studio at their villa, Casa Aramara. Speaking on this period of time, the singer said: "I got to find myself [in Mexico]. It does not mean I have everything figured out and I'm awesome. Not at all. I just felt this sense of groundedness and structure and stability I had been craving for a long time." Their work in Puerto Vallarta resulted in the creation of several tracks, including "Mexico", "Revival", and "Body Heat".

During their trip however, photos of the singer on a beach in a bikini surfaced online, and appeared to show a slight weight-gain. Tabloids and social media users criticized nearly every aspect of her physical appearance, including her stomach, face, thighs, breasts, and even her teeth. In an interview with Billboard, she revealed that it was the first time she had gone through body shaming, and she began to believe some of the hurtful comments directed at her. Speaking on the experience, Gomez said: "It was appalling. I had never experienced that before [...] I was sad. I was angry. I feel all of it. But I also got motivated." Returning to Los Angeles with a renewed sense of purpose, the singer continued to work with Rock Mafia on several songs inspired by her body-shaming experience, including "Rise" and "Kill Em with Kindness", the latter of which was written as a direct response to the incident. Not wanting to be viewed as merely a victim, Gomez was motivated to create a song that would send a message to girls that there is an option to stand up for themselves. Instead of taking revenge however, she based the song around the theme of magnanimity, an attribute to which she accredits to her mother. She co-wrote "Kill Em with Kindness" alongside DJ Dave Audé and producers Rock Mafia and Benny Blanco, and recorded it at Rock Mafia Studios in L.A.

Having addressed all the issues she wanted to cover in her music after returning from Mexico, the singer felt the record was complete, and Revival was scheduled to be mixed at the end of June. However, after the release of "Good for You", Gomez delayed the album's submission; returing to the studio for an additional four days with Michaels, Tranter, and Swedish production duo Mattman & Robin. Their work during this time yielded three songs, including "Hands to Myself" and "Me & the Rhythm". The former was the second-last addition to Revival, and stemmed from the "can't keep my hands to myself" hook, which Michaels recorded as a voice memo in her phone. She approached Gomez, Tranter and the producers with the sample, and brought forth the idea of making a Prince-influenced track, while the song's production was inspired by a rhythm she made using a cup and a table.

They wrote and recorded a skeletal demo to the song in a single day, and Mattman & Robin suggested sending the song to Max Martin to help produce the vocals. He responded enthusiastically, saying: "This is the greatest thing I've heard all year. I have to be a part of it." Gomez granted him freedom to change "Hands to Myself" as he saw fit, and the producer reworked the song's pre-chorus, added additional vocals during the final refrain, and introduced the "se-eh-eh-eh-eh-eh-elf" hook in the post-chorus. The singer was initially hesitant to send the track to Martin, as she was nervous he would change it too drastically. However, once they began talking and exchanging ideas, the two began to start a working relationship. Additionally, Gomez, Tranter, Michaels, and Mattman & Robin created "Me & the Rhythm" during this time, and was the last song recorded for Revival. The final versions of both songs were recorded at Wolf Cousins Studios and Maratone Studios in Stockholm, Sweden, and Interscope Studios in Santa Monica, California.

Themes
Revival revolves around Gomez's desire to reclaim her identity after a turbulent year battling lupus, facing gossip over her mental health, constant inquiring by the media into her private life, and online harassment over her weight. It focuses on themes of self-discovery, confidence, love, sexuality, faith, heartbreak, and self-empowerment. Speaking on the main focus of the album, the singer said: "My public life was doing all the speaking for me, for a moment. While the press made it their mission to make me seem meek and small, I translated that into my music." Her outlook and attitude throughout Revival has been described as "fully embodying" the role of a confident introvert who "casts come-hither glances and disgusted sneers in equal measure." Mikael Wood of the Los Angeles Times said that in comparison to her ex-Disney contemporaries such as Miley Cyrus and Demi Lovato: "the singer avoids the kind of wild-child impertinence we’re accustomed to hearing from someone in her position." Brittany Spanos of Rolling Stone opinined that: "The Gomez of this relaxed, confident pop collection butterflies with such ease that it feels like she’s revealing her true personality for the first time." Elena Wandzilak of Student Life noted that thematically, Revival tells a story based around the "rebirth of a pop star", noting that after a turbulent year leading up to the release of the album, Gomez's ability to channel her frustrations into music produced "an artist who is confident in her skin and her music, and the confidence beams throughout Revival."

The title track has been noted by critics as setting the thematic tone for the album, with the singer herself saying that "Revival" is "everything in one song. Everything that I've been feeling the past year or two years." Opening with a spoken word introduction, Gomez states: "I dive into the future / But I'm blinded by the sun / I'm reborn in every moment / So who knows what I'll become." Dave Hanratty of Drowned in Sound compared the track's opening stanza to the shedding of a chrysalis, "long before the on-the-nose mention of it being her 'time to butterfly'." In her review of Revival, Katherine St. Asaph of Time noted that in the line "it's my time to butterfly", the song's verbing sounded like a personal slogan. Slant Magazine writer Sal Cinquemani shared a similar sentiment, observing that in the same line, the use of the word butterfly contained a dual meaning; serving as both a state of being and an intransitive verb. He went on to say: "[...] the metaphor of emerging from a cocoon, and the concept of maturity in general, is usually analogous to the shedding of one's clothes (as it most certainly is here, with Gomez posing nude on the album's cover), there's an emotional nakedness throughout the lyrics as well." Revival's central notion of explicit rebirth is carried forward onto the records imagery as well, with Gomez posing nude on the cover of the album. The image was controversial, with some viewing it as subversive and unfitting for a role-model such as herself. In a rebuttal to these claims, Ella Ceron of Teen Vogue voiced: "[Gomez] isn't a young girl anymore, though, and to expect her to delay her own womanhood for the sake of fans — whom she calls her everything — is to ask a lot of a very ordinary human who is dealing with a lot both in her professional and personal life."

Gomez's emerging sexuality and transition into womanhood play a significant role throughout Revival. In her Refinery29 cover story, she spoke on the topic, saying: "It's not something where I'm like, let me glorify what I do in the bedroom [...] But I think I have a very healthy perspective on my sexuality. It's part of being an adult, and I'm still figuring out how to be one of those, too." "Good for You" was frequently referenced by journalists as an example of the singer's sexual awakening. Many noted that the track represented a shift towards more mature and sexually suggestive subject matter not seen in Gomez's previous releases, showcased in lines such as: "You say I give it to you hard / So bad, so bad / Make you never wanna leave / I won't / I won't". The song is an amalgamation of the album's central topics, exploring themes of intensity, psychodrama, self-confidence and female self-empowerment. The singer told Nicole Mastrogiannis of iHeartRadio that for her, "Good for You" was about feeling beautiful and confident in herself, and was representative of the pride she felt overcoming body-shaming; having reached a point where she was becoming comfortable with her sexuality, body, and image. In response to those who viewed the track as anti-feminist, Gomez said that the songs erotic and captivating nature was a feminist asset, recognizing that powerful women are able to harness their sexuality and attract a male gaze, but still be in control of how they are perceived. Regarding her attitude towards women and female sexuality on Revival, Gomez said she was inspired by a video of Nicki Minaj, taken from her 2010 MTV documentary, My Time Now, in which the rapper highlights the double standard that exists within the entertainment industry:

"When you're a girl, you have to be everything [...] You have to be dope at what you do, but you have to be super sweet, and you have to be sexy... and you have to be nice. It's like, I can't be all those things at once. I'm a human being."

- Nicki Minaj

Additionally, Gomez's faith and spirituality are prominent themes explored throughout Revival, and is most noticeably manifested on "Nobody".

Lyrics
Many songs on Revival can be viewed from alternating perspectives, and therefore can contain different meanings. In her analysis of the album, Jia Tolentino of Spin noted that there was "an unusual degree of interchangeability here in the object of Gomez’s focus", observing that "many tracks work when addressed to boyfriend and viewing public both", and used "Same Old Love" as an example. Tolentino interpreted the song as being about "a relationship she doesn’t know how to kick", while Gomez herself stated that for her, the song represents "a cycle, a cycle that people understand. It drives you mad, but it's beautiful." On the surface, "Hands to Myself" carries a sexually suggestive tone similar to "Good for You", and focuses on themes of seduction, and reality versus fantasy in relationships. Spencer Kornhaber of The Atlantic recognized a significant amount of lyrical influence from G-funk, and said the song was proof of Long Beach's gangsta rap influence, most notably in the line: "your metaphorical gin and juice". Of the song, the singer said: "it's theatrical, it's movie-like. And all of that you end up seeing ends up being a false reality on both ends." However, Sam Wolfson of Vice magazine observed a dual meaning in "Hands to Myself", writing that by presenting an overtly sexual overtone, the song masks a dark undercurrent: "there's two narratives at play;– a surface and a more hostile truth". He explained that after a deeper inspection, it becomes apparent that the track narrates a relationship affected by drugs and mental health issues; using the lines "All of the downs and the uppers" and "The doctors say you're no good" as examples.

In contrast to the more subtle messages of "Hands to Myself", "Sober" directly references themes of addiction, more specifically the extremes of which alcoholism can change one's personality, and the mental tole it takes on a relationship, displayed in lyrics such as: "You've got a hold on me / You're like a wasted dream / I gave you everything / But you don't know how to love me when you're sober". "Sober", along with "Same Old Love", were singled out by multiple reviewers as possibly referencing her turbulent, high-profile relationship with Canadian recording artist Justin Bieber. When asked if their relationship was an influence on Revival during an interview with Joe Levy of Rolling Stone, the singer stated her desire to distance herself from drama surrounding him, wanting to be judged solely on the quality of her music. Gomez told Levy that although she understood that much of the album could be interpreted as being directed towards Bieber, she refused to alter her life based around gossip and false headlines, saying: "If I go and have a great time, I live my life and nothing is going to dictate how I feel unless I let it."

In her review of the album, Wandzilak felt that this sentiment was best observed in "Me & the Rhythm", specifically the line "Feeling like I’m truly free / I’m free in me", saying: "this new Selena has moved past her relationship with Bieber and finds liberation in being herself." Wandzilak also noted that "Me & My Girls", included on the deluxe edition, reinforced the singer's newfound liberation and independence.

Music
Musically, Revival is a minimalistic pop and electro-R&B album, built around a "shy, assured, slightly mournful sultriness" and a sense of diffusion and restraint. USA Today writer Patrick Ryan said that the music on the album was a "sonic shift" for Gomez, observing that the singer utilizes a slower, "sultry" electronic R&B sound in comparison to the bubblegum pop of previous singles "Come & Get It" and "Slow Down". Likewise, Melissa Haggar of Concrete also labeled the music on the record as "sultry, vibrant and vivid" dance-indebted electro-R&B, while opining that the album contained an "impressively" cohesive sound. PopCrush writer Bradley Stern classified Revival as an alternative R&B record, similar to that of The Weeknd, Tinashe, Banks and FKA Twigs. Stern noted the album's unique, characteristic sound was consistent with other "defining pop records" of the mid-2010s, namely Zayn's Mind of Mine (2015) and Rihanna's Anti (2016). In her review, Brittany Spanos of Rolling Stone called Revival a "cool, sexy, confident pop album", and said that the record abandons the "harsh-though-catchy EDM beats of 2013’s Stars Dance and the shallow angst of her previous work with the pop-rock project the Scene". Writing for The Observer, University of Notre Dame journalist Joseph Glass echoed Haggar's statements about the album's cohesiveness, and added that the record's occasional changes in tempo, rhythm, instrumentation and singing styles keep it from stagnating, observing from Gomez a "willingness to experiment with both her voice and her music without being constrained to one specific style."

Revival was noted by critics for it's experimental and progressive exploration of pop music. Adhering to sonic minimalism, Revival is composed of dark, understated,  and slightly melancholic midtempo torch songs,  connected by a warm, tropical beach-pop sound. The album's song structures are characterized by smooth, "clean" electronic textures, minimalist dance beats, and "smoldering" alternative R&B grooves. Much of the albums composition combines electronic dance music synths, upbeat melodies, soulful pianos, steel drums, and clipped, "breathy" indie pop vocals. Additionally, reviewers noted that Revival frequently borrows from stylistic elements commonly associated with electronic dance music; more specifically in the first half the record, which draws heavily from house music. Influences of dance-pop and electropop were also perceived, albeit to a lesser degree.

However, Revival deviates from traditional genre norms; pairing the albums few dance songs with downtempo, melancholic lyrical content, and near spoken-word chorus's. In his review of the album, Entertainment Weekly writer Tim Stack described the record as "fresh and forward-thinking" indie-R&B; grouping it with recording artists FKA Twigs and Tove Lo, while saying: "Gomez goes for mood-setting, and the result is a gripping batch of sultry pop jams that are more 'Netflix and chill,' less 'Let's hit the clurb [sic].'" In a similar sentiment, Marcel Thee of The Jakarta Post said while not being "completely devoid" of dance rhythms, most of the album is "more suited for downtime than the dance-floor." Stereogum writer Chris DeVille echoed Stack's statements, deeming Revival among the most forward-thinking albums of 2015. He noted it contained a personal, unique musical style; which he described as being anchored by a "crisp, stylish minimalism" and "twilight shading".

Critics compared.

Vocals
Gomez's vocals throughout Revival.

Songs
"Revival" is a pop and electro-R&B song, New Age, tiptoeing synths and vocalise. "Kill Em with Kindness" tropical house breeze. "Same Old Love" built on a rickety piano sample, backgrounded Italo synths, is influenced by alternative music, punk-soul infliction. "Good for You". "Body Heat" Latin-fusion, reggaeton-tinged.

Release and promotion
"The title of her second solo album, Revival, isn’t only a marketing concept. It marks a split from the Disney empire that shaped so much of her story".

Legacy
"This was a move straight out of the young-pop-star template that somehow managed to feel real, raw, even a little uncertain. She’s the ghost in the machine when it comes to this stuff: She takes the typical, scripted thing and makes it jarringly human."

"I’ve always been into Selena and looked up to her. But I loved when artists finally get to create what is really true to them and what they’re passionate about, and I think that Revival captured what Selena had been going through the last few years,” says Miller."

"That shadowy sound now colors most of the defining pop records of late, from Selena Gomez‘s Revival to Zayn‘s Mind of Mine to Rihanna‘s ANTI."

Read More: 'Make Me': The Musical Rebirth of Britney Spears

Track listing

 * Notes
 * undefined signifies an additional producer
 * undefined signifies a vocal producer
 * undefined signifies an executive producer
 * undefined signifies a co-producer
 * undefined signifies an additional vocal producer
 * undefined signifies a remixer

Personnel
Credits adapted from AllMusic.


 * Serafin Aguilar – trumpet
 * Mike Anderson – engineering
 * Haze Banga – programming
 * Tim Blacksmith – executive producer, producer
 * Benny Blanco – instrumentation, producer, programming
 * Christopher Braide – instrumentation, piano, producer, programming
 * Adam Comstock – engineering
 * Danny D. – executive producer, producer
 * Nelson Davis – programming
 * Hector Delgado – mixing, producer
 * Dubkiller – producer, programming
 * Zvi Edelman – production coordination
 * Rob Ellmore – engineering, vocal engineering
 * Mikkel Eriksen – engineering, instrumentation
 * Robin Fredriksson – bass, drums, engineer, guitar, percussion, piano, producer, programming, synthesizer, tracking, vocal producer
 * Simon French – assisting
 * Chris Gehringer – mastering
 * Serban Ghenea – mixing
 * Ross Golan – background vocals
 * Selena Gomez – executive producer, lead vocals
 * Matty Green – mixing assisting
 * Steve Hammons – engineering, guitar, mixing engineering, percussion
 * John Hanes – mixing engineering
 * Leah Haywood – background vocals, vocals
 * Tor Erik Hermansen – instrumentation, producer, programming
 * Hit-Boy – percussion, producer, programming
 * Brandon Hodge – guitar
 * Seif Hussain – production coordination
 * Nolan Lambroza – producer
 * Rami Jaffee – keyboards
 * Devrim "DK" Karaoglu – keyboards
 * Laura Kilborn – producer
 * Chris Laws – drums, engineering
 * Nolan Lambroza – producer
 * Mattias Larsson – bass, drums, engineer, guitar, percussion, piano, producer, programming, synthesizer, tracking, vocal producer
 * Chris Laws – drums
 * Andrew Luftman – production coordination
 * Nigel Lundemo – engineering, percussion, programming
 * Steve Mac – keyboards, producer
 * Blake Mares – assistant
 * Max Martin – percussion, programming, synthesizer, vocal producer
 * Tony Maserati – mixing
 * Jimmy Messer – guitar
 * Julia Michaels – background vocals, vocal producer
 * Nick Monson – producer
 * João Pedro Mourão – guitar
 * Jamie Muhoberac – keyboards
 * Danny Parra – engineering, production, programming
 * Tim Pierce – guitar
 * Dann Pursey – assisting
 * R3drum – additional production
 * Benjamin Rice – engineer, vocal engineer, vocal producer
 * Daniela Rivera – mixing engineering
 * Robin – bass, drums, engineering, guitar, percussion, piano, producer, programming, synthesizer, tracking, vocal producer
 * Rock Mafia – background vocals, guitar, instrumentation, keyboards, mixing, percussion, producer, programming
 * A$AP Rocky – producer
 * J.B. Saboia – assistant
 * Will Sandalls – piano engineering
 * Chris Sclafani – vocal engineering
 * Tyler Scott – assisting, mixing
 * Phil Seaford – mixing assisting
 * Felix Snow – instrumentation, producer, programming
 * Mark "Spike" Stent – mixing
 * Shane Stevens – vocal producer, background vocals
 * Geoff Swan – mixing assisting
 * Phil Tan – mixing
 * Astrid Taylor – production coordination
 * Juan Carlos Torrado – assistant, assistant arranging
 * David Urquidi – saxophone
 * Miles Walker – engineering