Who Composed The Soundtrack For Not The End Of The World?

2025-10-28 15:29:44 254

7 Answers

Ulysses
Ulysses
2025-10-31 14:53:33
Bright and a little giddy, I’ll say it plainly: the song 'Not the End of the World' comes from Katy Perry and was crafted with a small army of writers and producers around her. The track is credited to Perry herself alongside a production team that includes Andrew Goldstein and The Monsters & Strangerz, who helped shape the glossy pop production and the hook-driven structure. You'll also see names like Jacob Kasher Hindlin and Johan Carlsson in the writing credits—these are the kind of collaborators who flesh out melodies and lyrical lines until they gleam.

I got into this track because of its upbeat defiance; once you know who’s behind it, you can hear their fingerprints: tidy pop arrangements, layered synths, and punchy percussion that lets Perry’s voice sit front and center. On streaming services and in the album booklet (the song appears on the 'Smile' era material), the credits list the full songwriting and production roster if you want the exhaustive roll call. To me, it’s one of those tracks where the collaboration shows — one voice leading but many hands composing the soundtrack texture, and I love how it sounds when a team gels like that.
Blake
Blake
2025-10-31 16:43:59
Digging into the credits casually, I discovered that 'Not the End of the World' is credited primarily to Katy Perry and a team of frequent collaborators. Jon Bellion and Andrew Goldstein are two names that show up often in writeups about the song, and writers like Jacob Kasher have also been involved with sessions on the 'Smile' era. Goldstein in particular has production credits, which explains the polished pop production and the crisp drum programming.

What I like about that combination is how it balances radio-ready hooks with little melodic quirks — you can hear Bellion’s pop-craft in the earworm chorus and Goldstein’s fingerprints in the layered synths. For people who follow songwriting credits, it’s a neat example of modern pop being a real team effort rather than a lone composer moment, and it makes the track feel intentionally constructed to land on playlists.
Griffin
Griffin
2025-10-31 18:18:42
I got curious about this song the other day and dove into the credits: the track 'Not the End of the World' comes from Katy Perry's album 'Smile', and it's a collaborative creation. Katy herself is credited as a writer, along with a handful of pop writers/producers who helped shape the sound — names you’ll see attached to a lot of modern pop like Jon Bellion and Andrew Goldstein pop up in the credits, and songsmiths such as Jacob Kasher often join in on these sessions. Production-wise Andrew Goldstein is usually listed among the main producers, steering the track’s glossy, punchy textures.

I like how that blend of writers makes the song both catchy and a bit layered — Perry’s pop sensibility with Bellion’s knack for earworm melodies and Goldstein’s production sheen. If you’re digging the track, checking the liner notes for 'Smile' gives the definitive list, but that trio (Perry, Bellion, Goldstein) are the big names tied to writing/production on it. It’s one of those upbeat tracks I can put on when I need a small boost.
Eva
Eva
2025-11-01 03:34:26
If you mean the Katy Perry song 'Not the End of the World' from 'Smile', the composition and production are credited to Katy alongside collaborators including Jon Bellion and Andrew Goldstein, with Goldstein among the producers shaping the final sound. That collaborative setup is pretty typical for pop singles — a lead artist plus a couple of songwriter-producers who bring melodies, lyrical polish, and studio production techniques together.

I like how those teams can make a track sound familiar and fresh at the same time; this one sits comfortably in that space for me.
Derek
Derek
2025-11-01 22:25:55
Short and conversational: the main creative force behind 'Not the End of the World' is Katy Perry, but she didn’t do it alone. The song’s composition and production credits include Andrew Goldstein and The Monsters & Strangerz, with additional writers such as Jacob Kasher Hindlin and Johan Carlsson contributing to lyrics and melody. In modern pop, the term "composer" often spreads across several names because producers and co-writers shape the music as much as the lead artist. I always like checking the streaming credits to see who did what — it makes the music feel like a team sport, and this track is a great example of that collaborative sparkle.
Jocelyn
Jocelyn
2025-11-03 00:19:36
Low-key and a touch nostalgic in tone, I like to think of this as a group effort more than a lone genius moment. The composer credit for 'Not the End of the World' is anchored by Katy Perry herself, but the production and songwriting are very much collaborative: Andrew Goldstein and The Monsters & Strangerz are primary producers who helped turn the basic song idea into a polished pop soundtrack moment. Other writers, like Jacob Kasher Hindlin and Johan Carlsson, often get credited for vocal melodies and lyrical tweaks, which is typical in modern pop songwriting.

If you dig into the liner notes, that’s where you see every contributing name — engineers, additional producers, and background vocalists who all influence the final sound. I always find that interesting: a pop track that feels like a single voice is usually the work of a dozen creative people smoothing every rough edge. Personally, that collaborative vibe is part of the fun: you can hear the pop machinery at work and still feel the personality in the performance.
Yara
Yara
2025-11-03 17:42:00
I stumbled on this track while making a playlist and got curious who put it together. The title 'Not the End of the World' (from the album 'Smile') lists Katy Perry as a writer and then a handful of collaborators who helped build the song’s structure and vibe. Jon Bellion’s involvement explains some of the melodic flourishes and unexpected turns in the chorus, while Andrew Goldstein is one of the production names you’ll see credited — that’s why the rhythm and synth choices feel so crisp and modern. Jacob Kasher and other pop writers often tag in on these sessions too, giving the lyrics their tight, singalong quality.

I enjoy thinking about the collaborative process on tracks like this: lyric drafts, toplines, beat sessions, and then polishing in the studio. The final product sounds like a team win, and it’s fun to listen closely and try to pick apart who might have added which little hook or production tweak. Overall, the song benefits from that team energy and comes off as upbeat and direct, which is exactly why I keep it in my feel-good rotation.
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