Honestly, most people forget Scarlett Johansson even has a music career. They see the Black Widow posters or the Oscar nominations and figure that’s the whole story. But if you dig into the actual songs by Scarlett Johansson, you find this weird, low-register, almost ghostly world that has nothing to do with Hollywood blockbusters. It’s not "actress music" in the way we usually think of it. No glossy pop. No autotuned dance tracks.
It's moody. It’s kinda dark. And it’s definitely an acquired taste.
The Tom Waits Gamble
Back in 2008, ScarJo did something that made the indie music world collectively scratch its head. She didn't release a bubblegum single. Instead, she dropped Anywhere I Lay My Head, an entire album of Tom Waits covers. Think about that for a second. Tom Waits is famous for sounding like a gargoyle who swallowed a pack of cigarettes and a bottle of bourbon.
Choosing his songbook for a debut was a massive flex.
The album was produced by Dave Sitek from TV on the Radio. He didn't put her voice front and center. Instead, he buried it under layers of reverb and synthesizers. Critics were split. Some called it a "vanity project," while others, like NME, actually gave it decent marks for being brave. David Bowie even sang backup on "Fannin Street." If Bowie thinks your music is worth his time, you’re probably doing something right.
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Why the "Falling Down" Cover Matters
If you want to understand her vibe, listen to her version of "Falling Down." It’s slow. Her voice is a deep alto—almost a baritone at times. It sounds like someone singing in a dream where they can't quite run fast enough. It’s not "pretty" in the traditional sense, but it’s incredibly atmospheric. This wasn't meant for the Top 40. It was meant for a rainy Tuesday in a dimly lit apartment.
That "Break Up" Phase with Pete Yorn
A year later, she teamed up with indie darling Pete Yorn for a project called Break Up. This one felt more human. While her first album was a wall of sound, this was inspired by the 1960s duets of Serge Gainsbourg and Brigitte Bardot.
The standout track? "Relator."
It’s catchy. It’s upbeat. It’s probably the most "normal" song she’s ever released. They recorded the whole thing in about two days back in 2006, but it sat on a shelf for three years. When it finally came out in 2009, it actually did okay, especially in France where it went Gold. It showed a side of her voice that wasn't just "ghostly whisper"—she could actually carry a melody in a way that felt grounded.
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Fast forward nearly a decade to 2018, and they did it again with the Apart EP. It’s basically the "what happened after the breakup" record. Songs like "Bad Dreams" have this hazy, electronic pulse. It’s sophisticated stuff. It makes you realize that her music isn't just a hobby; she’s been collaborating with the same serious musicians for twenty years.
The Soundtracks and the "Sing" Breakthrough
Most of the world actually has heard Scarlett sing, even if they don't realize it. She voiced Ash, the punk-rock porcupine in the Sing franchise.
- "Set It All Free": This is basically a stadium rock anthem. It’s the polar opposite of her Tom Waits stuff. It’s loud, it’s empowering, and it proves she has more vocal range than the critics gave her credit for in 2008.
- "I Still Haven't Found What I'm Looking For": In Sing 2, she performed this with Bono. Yes, the Bono. Covering U2 is a death wish for most singers, but she held her own.
- "The Moon Song": From the movie Her. This is the one that gets people. It’s just her and a guitar (played by Joaquin Phoenix in the film context). It’s fragile. It was nominated for an Oscar for Best Original Song, and for good reason. It captures that specific feeling of being lonely but okay with it.
The "Singles" That Almost Weren't
There’s a weird bit of trivia most people miss. In 2015, Scarlett tried to start an all-girl "super-pop" band called The Singles with Este Haim (from HAIM) and Holly Miranda. They released one song called "Candy."
It was great. It sounded like Grimes meets The Go-Go's.
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Then a band from Detroit also called The Singles sued them. The whole thing kind of fizzled out after that, which is a shame. That "super-pop" direction was a side of her musical personality we hadn't seen—bright, neon, and intentionally sugary.
Actionable Insights for the Curious Listener
If you’re just starting to explore the music of Scarlett Johansson, don't just hit "shuffle" on a random playlist. You’ll get whiplash. Follow this path instead:
- For the "Art Film" Vibe: Start with "Fannin Street" from her debut album. Listen for David Bowie’s backing vocals. It’s a texture-heavy experience.
- For the Road Trip: Put on the Break Up album with Pete Yorn. "Relator" and "Blackie's Dead" are the easiest entry points.
- For the Emotional Hit: Go straight to "The Moon Song." It’s barely two minutes long but stays with you for hours.
- For the Workout: "Set It All Free" from the Sing soundtrack is surprisingly high-energy for a "kid's movie" song.
Scarlett’s music career isn't a fluke. It’s a deliberate, decades-long exploration of her own voice. She knows she isn't Adele. She knows her voice is "husky" and "manly" to some. But she uses those limitations to create a specific mood that most pop stars are too afraid to touch. She’s not trying to be a pop star; she’s an artist using a different medium.
Check out the Apart EP from 2018 if you want to see where her head is at lately—it’s the perfect bridge between her indie roots and her polished soundtrack work.