The Sonic Shift: Why Euphoria Season 3’s Music Is Dividing Fans
For the first two seasons of Euphoria, the music wasn’t just a backdrop—it was a character. The genre-bending, atmospheric score created by Labrinth defined the show’s emotional peaks and moody valleys, earning the composer an Emmy for “All For Us.” However, as Season 3 unfolds, the auditory landscape has shifted dramatically. With the departure of Labrinth and the arrival of Oscar-winner Hans Zimmer, the series is facing a wave of criticism from a fanbase that feels the show has lost its soul.
- Composer Change: Labrinth has exited the series, leaving Hans Zimmer as the sole composer for Season 3.
- The Conflict: Labrinth cited poor treatment within the industry as his reason for leaving and removing his previous contributions from the new season.
- Creative Pivot: Showrunner Sam Levinson shifted away from “pop roots” and needle drops to reflect the characters’ transition into adulthood.
- Fan Reaction: Viewers have slammed the new score, describing it as “elevator music” that fails to match the show’s intensity.
The Fallout: Labrinth’s Dramatic Exit
The transition in Euphoria‘s sound wasn’t a quiet hand-off. Labrinth’s departure was marked by a series of cryptic and caustic social media posts. In one instance, the composer declared, “I’m done with this industry. Fuck Columbia. Double fuck ‘Euphoria.’ I’m out,” according to Decider.
The friction extended beyond mere creative differences. Labrinth later revealed that he took the proactive step of removing any music he had already contributed to the third season. Speaking via an Instagram story, he explained his decision by stating, “People will comfortably lie in this industry and still call themselves honest people.” While he noted that his relationship with HBO remained “cool,” he was firm about his boundaries, adding, “I left because, last truth, when I work for someone, their vision is paramount to me, but I don’t let people treat me like shit,” as reported by Variety.
Sam Levinson’s New Vision for the Sound
From the production side, the change in music is a deliberate narrative choice. Season 3 jumps forward five years, moving the characters out of high school and into a different stage of life. Showrunner Sam Levinson told Rolling Stone that because of this time jump, the “pop roots” of the earlier seasons had faded.
Levinson praised Labrinth as an “incredible collaborator” who built the show’s sonic foundation, but he expressed a desire for a different approach for the final chapter. He noted that he was less interested in the curated “needle drops” (licensed songs) that defined the first two seasons and more interested in a score that could guide the audience through this new, evolved world. This led to the appointment of Hans Zimmer to lead the score.
Fan Backlash: “Elevator Music” vs. Atmospheric Drama
While Zimmer is a titan of cinema scoring, his work on Euphoria hasn’t resonated with the audience. Fans are complaining that the new soundtrack is out of place, with some describing the tranquil melodies as “all inclusive resort elevator ass music,” per Decider.
The criticism has centered on the score’s inability to heighten the show’s high-stakes drama. Specifically, viewers have pointed to the lack of impact during pivotal moments, such as Maddie’s entrance to Nate and Cassie’s wedding. For many, the absence of Labrinth’s eclectic and moody style makes the series feel like a “whole different show,” leaving the emotional weight of scenes—like Nate’s injury or Cassie’s lavish floral arrangements—feeling flat.
Comparison: The Sonic Evolution of Euphoria
| Feature | Seasons 1 & 2 (Labrinth) | Season 3 (Hans Zimmer) |
|---|---|---|
| Primary Style | Genre-bending, pop-influenced, moody | Tranquil, orchestral, guiding score |
| Use of Songs | Heavy reliance on eclectic needle drops | Reduced focus on licensed tracks |
| Audience Reception | Culturally defining; Emmy-winning | Polarizing; criticized as “irrelevant” |
Looking Ahead
As Euphoria marches toward its conclusion, the music controversy highlights how critical a score is to the identity of a prestige drama. Whether Hans Zimmer’s more traditional approach will eventually win over the audience or if the absence of Labrinth will remain a permanent stain on the final season remains to be seen. For now, the sonic divide is as deep as the drama on screen.
