BAD TIMES
Imael Angel · BAD TIMES
They say I work in the
They say I work in the
Ah, ah, ah, ah
And they say I work in the
Naysayers calling me numbers
'Cause I've got into places
Got myself a full line-up
There's one of us, standard declaring
I've been on in my verses
I got standard in my verses
Now these standard in my verses
And I know my, I know my, I know my
I know my
I'm not a victim, I'm a winner
Summa-the-bounce, summa-the-bounce, summa-the-bounce
Summa-the-bounce, summa-the-bounce, summa-the-bounce
Summa-the-bounce, summa-the-bounce, yeah
Hey!
I gotta heal myself
I gotta live in this health
I'm-a deny this health
I live this health
I live this health, I got
They say I work in the shadows
They say I work in the shadows
Ah, ah, ah, ah
They say I work in the shadows
They say I work in the shadows
When the lyric record breaks down
The lyric transcription for Imael Angel’s “BAD TIMES” is unusually fragmentary, so its repeated phrases should not be treated as a fully reliable or coherent text. What can be established is the 2026 single’s house setting and its refrain about being a winner rather than a victim, alongside references to working in the shadows and trying to heal. Those fragments suggest resilience, but the gaps in the available transcription make a detailed line-by-line interpretation unwise.
The track drew attention partly because it sits at the intersection of AI-assisted production and human songwriting. Release information credits Imael Angel, while reporting identifies Bernadett Gángó as lyricist and describes the production as made with generative tools. That distinction matters: calling the song entirely machine-generated would erase the credited human contribution. Musically, its house pulse and repeated vocal phrases are suited to streaming and short-form video, while its extended version offers a longer arrangement for dance settings.
“BAD TIMES” reached No. 67 on the UK Official Singles Chart, according to Official Charts, and also appeared on UK sales and download listings. Music-industry coverage reported that it rose to the US iTunes Top 10 in October 2026, a digital-store chart result distinct from the broader Billboard singles ranking. The song’s visibility makes it a case study in how social-media circulation, chart purchasing and AI-assisted production can converge, but the lyrical text available on this catalog page remains too incomplete for firm claims about its narrative. That uncertainty is part of the record’s documentation and should be made visible rather than smoothed over.