Every songwriter hopes for that elusive “window of opportunity”—a magical period where every song seems to get picked, every cut becomes a single, and every single effortlessly climbs the charts. For Stephan Moccio, the Canadian composer behind Celine Dion’s “Your Day Has Come,” The Weeknd’s “Earned It,” and the Miley Cyrus mega-hit “Wrecking Ball,” that window has been open for over a decade. In this interview, we delve into the story behind “Wrecking Ball,” exploring its creation and impact, directly from the perspective of one of its key architects.
Moccio acknowledges the doors “Wrecking Ball” opened for him. “The phone is ringing off the hook,” he shares, recounting meetings with top music executives. The success of “Wrecking Ball” and “Earned It” propelled him into high demand, especially for movie soundtracks and collaborations with major artists. He spent eight months co-producing The Weeknd’s chart-topping album and is currently involved in multiple film projects, including a song for the Julia Roberts film, The Secret in Their Eyes.
Despite the commercial success, Moccio emphasizes his intrinsic motivation. “I never got into music to make money,” he states, crediting his parents for instilling in him the principle of pursuing passion over profit. He recalls times of financial struggle, fueled by unwavering belief in his melodies. Hard work, discipline, and a constant drive to surpass his previous work are, in his view, crucial to his sustained success in the music industry.
However, Moccio is aware of the contrasting elements associated with his work, particularly the juxtaposition of Fifty Shades of Gray and Miley Cyrus. “It’s kind of ironic,” he reflects, “Because I’m a guy who fundamentally just composes beautiful songs and beautiful music. I’m really a classical writer.” This sets the stage for the intriguing story behind “Wrecking Ball.”
Moccio details the genesis of “Wrecking Ball”: “Sacha, MoZella and myself did the entire song in one day. I remember it was September 24th, 2012.” Initially brought together to write for Beyoncé, the trio—strangers to each other—found themselves creating something different. An unconventional setting, a Montessori school with a white piano, became their impromptu studio. Moccio believes this unique environment underscores the idea that inspiration can strike anywhere.
The emotional core of “Wrecking Ball” stems from MoZella’s personal experience. “Wrecking Ball in every way is about MoZella’s toxic relationship,” Moccio reveals, explaining her fragile emotional state due to a recent broken engagement. The songwriting session became a space for MoZella to channel her pain, with Moccio and Sacha providing support.
The title “Wrecking Ball” itself was a collaborative suggestion. Moccio recounts, “I remember kind of shyly putting up my hand and saying, ‘What about “Wrecking Ball”?'” Sacha’s positive reaction and MoZella’s subsequent line, “I came in like a wrecking ball,” cemented the metaphor. The creative process was fluid, with Sacha starting on keyboards before Moccio took over the piano, while MoZella focused on lyrics and melodies. A demo was created the next day, capturing the raw essence of the song.
MoZella’s connection to Miley Cyrus proved pivotal. She played the demo for Cyrus, who immediately resonated with the song. Moccio acknowledges the strategic timing MoZella employed, believing Sundays were best to capture Miley’s attention. This highlights the often-understated psychology involved in pitching songs to artists. Miley’s enthusiasm led to Dr. Luke and Cirkut producing the track, adding their names to the writing credits for production, although Moccio emphasizes they maintained the song’s original structure and feel from the demo.
The timeline from writing to recording was remarkably swift. Written in September, Miley Cyrus recorded her vocals by December. The anticipation built as the record company recognized the song’s potential, foreshadowing its release as a single. However, the song’s impact exploded unexpectedly. Miley Cyrus’s controversial performance at the VMAs in August 2013 became the launchpad for “Wrecking Ball.” “That night it went to the world and became the #1 single on iTunes,” Moccio recalls.
“Wrecking Ball” transcended typical song success, becoming a “global song” and a “social movement.” Moccio recognizes the music video’s significant role in this phenomenon, acknowledging its controversial nature and the powerful visual component in today’s music consumption. He understands that numerous factors, beyond just song quality, contribute to a song’s widespread reach.
Despite these external factors, Moccio firmly believes in the inherent quality of “Wrecking Ball.” “And “Wrecking Ball,” in my humble opinion, is a great song,” he asserts, inviting listeners to appreciate its stripped-down piano-vocal version to recognize its classical underpinnings and genuine emotion. He emphasizes the raw emotional labor poured into the song by MoZella, making it a product of “blood, sweat, and tears.” Ultimately, the confluence of a powerful song, Miley Cyrus’s platform, and the resonance with her personal narrative at the time, propelled “Wrecking Ball” to its iconic status.
