After focusing on friendship with his excellent 2023 Lost a Friend EP, rising British singer-songwriter Saint Harison is ready to cast out the haunting spirits still percolating from his last romantic relationship.

On Friday (May 29), the Southampton-born artist, 29, shared his latest project, Ghosted — an immersive, unflinching look at a person working through the demise of particularly tumultuous romance. From regretfully ignoring his own intuition (“Bad”) and soundtracking a full-on emotional shutdown (“Panic Room”) to eventually taking accountability and reaching a precious level of peace (“White to a Wedding”), Harison’s new EP is a deft display of his storytelling ability, both vocally and lyrically.

“[In time since Lost a Friend], I moved to L.A. from England, and this project is all about my time dating out there, finding someone and falling in love, and being on the receiving end of a really s—t situation,” he tells Billboard. “I grew so much through writing this project. I’ve also started therapy. I’ve had some horrible, draining times, mental health-wise, so I wanted that edge and darkness to come across.”

To make sense out of that darkness, Harison tapped longtime collaborator Akeel Henry and expanded his circle of co-creatives to include Oscar-winning contemporary R&B architect D’Mile and Nova Wav, the production-songwriting duo of Brittany “Chi” Coney and Denisia “Blu June” Andrews, who worked on Beyoncé’s Renaissance and Cowboy Carter LPs. With a rebooted cast of characters, Harison crafted a project that finds him fine-tuning his singular songwriting approach — not many artists can successfully land a lyric like “You made me hate Beyoncé” — while also exploring notes of ‘60s soul-pop and small, albeit notable, increases in tempo.

At the top of the year, Harison joined Sam Smith for their 20-show residency at the Castro Theatre in San Francisco, Calif. In between shows, the two queer vocal acrobats were able to foster true kinship — and Harison also got to pick up a few pointers for his own upcoming U.S. trek this fall.

Below, Saint Harison walks Billboard through Ghosted, reveals what he learned from Sam Smith and spills what it was like meeting Beyoncé for the first time.

Was Ghosted always the title for the full project?

I don’t know where it came from really. I was working on a project in February 2024, and I scrapped almost all of it. “Ghosted” was the one song that kept sticking around throughout all the revisions. And it always felt like it set the tone. I find when I write, I get one song that becomes my muse for the rest of the project. It just felt correct that the whole thing would be called Ghosted.

Why did you scrap that first project?

Oh, it was s—t.

Well, what’s your bar for s—t?

I was upset because I put so much work into it. I did a whole camp and worked with so many good people on that project, so [me scrapping] it wasn’t a reflection of them. I just didn’t feel like I achieved what I had set out to. I know it when I hear it. And there wasn’t enough honesty for me. I was also trying to get a few uptempos — because I’m aware that I’m much better at writing slower songs about sad things — but those felt a little forced to me.  They’re still great songs, but they didn’t have a narrative that I felt like was important to tell.

What was the last song you added to the project? Why did it make Ghosted feel complete?

“Glass Houses.” I felt like I’d done my s—t-talking with “Bad” and “Stuck,” but I thought the project was still lacking empathy. And it was lacking a part of me that’s probably the realest: my ability to forgive and see that some people are truly hurting. Growing up in an abusive household makes you realize how much people can take away from growing up. Sometimes, when you meet people’s parents and learn more about their family dynamic, you can see some people don’t have good examples of love. So, that was the last song I added, and I’m glad because it really is my attitude towards everything after what I’ve been through.

“Panic Room” sounds like nothing else on the project. How did that one come together?

I was having the biggest writer’s block and had just scrapped the last project. I didn’t know what to do. I thought I did my best, but I didn’t feel like that was good enough, so I started writing one-minute songs. It took the pressure off of having to come up with a whole song and then a whole second verse and then a bridge. I was just making s—t and having fun.

“Panic Room” was actually two songs. The first song was called “I Hate Beyoncé,” and the other one was “Panic Room.” I put them together, because that song feels like a whole trip, the acknowledgement of loss and change.

You co-wrote “Glass Houses” with D’Mile and worked with Nova Wave on that. What was it like working with those super-producers? Did you learn anything from them?

Unbelievable. I had wanted to work with [Nova Wav] for such a long time. Obviously, I’m the biggest Beyoncé stan, so I was very aware of their work and achievements, as well as their stuff with Jazmine [Sullivan]. And D’Mile was the same — they were bucket list [collaborators]. I felt so lucky to be able to work with them at a time where I feel like I’m still building and finding a new audience and figuring it all out. And they’re just so nice, too. I remeber the first time I met D’Mile, he was just so warm and friendly.

Why did “White to a Wedding” need to be last?

That song was originally a country song. I love writing country music, which is something people don’t know. Dolly Parton was the first album I ever bought. The style of storytelling in country music puts me back into the present, and allows me to tell a narrative from start to finish, which I feel is sometimes hard when you’re trying to make a “hit record.” I had “White to a Wedding” sitting for a while, and I really wanted to make it work within the context of Ghosted. It feels like closure in a really weird way; I’m accepting this person is going to move on forever, but also, it still should’ve been me. It just felt like the best [closing]I could give to that situation.

How has your creative process changed between this project and Lost a Friend?

I still write a lot by myself. “Panic Room,” “Daffodil” and “Ghosted” were all done in bedrooms and people’s living rooms. That is something that will probably stick with me forever. The studio feels like so much pressure; all this equipment and all these buttons, $20,000 microphones… I’m like, “Oh my God, I better write a great song.”

I’ve also become a lot more confident in songwriting, which I owe to all the songwriters I worked with, on “Lost a Friend,” for example, because you learn so much. Songwriting is such a skill, and I’m grateful to have watched these talented writers and producers push instead of settling.

Which lyric are you most proud of on Ghosted?

[Laughs]. My head goes immediately to “Panic Room.” I remember writing [“You made me hate Beyoncé”] and getting such mixed reactions from everyone around me. People were like, “I don’t know if you can say this,” and I thought that was so weird, because obviously I’m in love with Beyoncé and clearly the song is saying, “You f—ked up my favorite person for me.” This person literally ruined my life because now I can’t even listen to Renaissance!

I don’t know if “proud” is the right word, but when I’m asked about a particular lyric on Ghosted, my mind always go to that one. I am the King of the Beyhive in my mind, and this is the realest s—t I’ve ever written! I love that song.

When you met Beyoncé at last month’s Cécred event, was that lyric on loop in your head?

Not really, because I was so overwhelmed that she was stood in front of me. She’s an absolute angel. She knew who I was, and she said some really, some really nice things. I was overwhelmed by the whole experience. But, the next day, I definitely was a bit like, “God, I hope she f—king likes my song.” But I think she would understand it being the absolute genius and queen she is. She would understand the vulnerability and songwriting behind that. As long as she knows that I absolutely adore her, which she does, then I think we’re okay. Trust, with a few SirDavis [cocktails] in my system, I definitely told her how I felt!

You played a couple shows with Sam Smith earlier this year. How was that?

It was one of the best experiences I’ve had of my career so far. Sam was such an inspiration to me growing up. We had loads of conversations whilst I was there, and we had a drink after the final show. We talked about what it’s like to be queer in this industry, how difficult it can be, struggling with perception, and all of that stuff. I learned that sometimes we forget even the grandest starts may have insecurities. I also learned it’s okay to not feel at your best all the time. This industry is such a pressure cooker, and so intense, that it’s nice to have met someone I was so inspired by, and have them be there for me as a peer and a bit of a mentor.

And the crowds were amazing! “Unholy” went off every night.

What else do you have planned this year?

I want to start a podcast! Like a “Ghosted Anonymous,” or something along the lines of that. Even if it’s just a short YouTube series. I like talking; I will chew anyone’s ear off.

I’m also doing a US tour, and then it’s back to writing. I probably have 60% of my new projects finished.

What kind of head space are you in right now?

I’m deep-diving back into my childhood and my life. Anyone who’s working on it with me, we’re definitely in a trauma bond at this point. It’s just gonna be dark and sad from here on out. Honestly, the day that I do a happy song, I will have to go out and celebrate and order champagne.

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