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Most Notable Classical Female Composers

THE MOST NOTABLE CLASSICAL FEMALE COMPOSERS

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    Being a female composer has always been a challenge; even now, a Classic FM survey last year of 100 of the world’s top orchestras revealed that only five percent of the music scheduled in their concerts is composed by women. The study took in 4,857 events scheduled by orchestras and over 88% of them didn’t represent female composers at all.

    Chief exec of the Royal Philharmonic Society, James Murphy, said, ‘Music can enliven and empower us all. But people are less inclined to engage with it if they don’t see themselves in it. That risks marginalising and diminishing something that ought to be universally cherished.’

    He added, ‘History’s done a brilliant job of making us think classical music is white and male. It’s not.’

    So, who have been the most famous female composers through history? Our list takes in everything from a medieval abbess to a Turkish pianist who’s bringing classical and rock music together.

    • Hildegard von Bingen
    • Francesca Caccini
    • Barbara Strozzi
    • Isabella Leonarda
    • Élisabeth Jacquet de La Guerre
    • Marianna Martines
    • Louise Farrenc
    • Fanny Mendelssohn
    • Clara Schumann
    • Teresa Carreño
    • Cécile Chaminade
    • Ethel Smyth
    • Lili Boulanger
    • Florence Price
    • Anne Dudley
    • Judith Weir
    • Debbie Wiseman
    • AyseDeniz Gokcin

    Hildegard von Bingen (1098-1179)

    Hildegard was a true trailblaizer – an abbess, a visionary, a poet, a dramatist, herbalist and composer. She has a musical legacy of nearly 80 surviving works – one of the largest of any Medieval composer. She never formally studied musical notation or singing, but her music is tremendously bold, with ecstatic melodies and a dramatic use of flowing lines. One of Hildegard’s compositions, the Ordo Virtutum, is acknowledged as the oldest surviving morality play.

    Francesca Caccini (1587-1640)

    The daughter of the great Renaissance composer Giulio Caccini was a singer, lutenist, poet and teacher known as ‘La Ceccina’. She became one of Europe’s most influential female composers, but sadly, little of her music survives. Her work, ‘La Liberazione di Ruggiero’ is considered to be the first opera by a woman, first staged in 1625.

    Francesca is known to have composed 32 songs and at least 16 stage works; she also provided music for court and liturgical settings.

    Barbara Strozzi (1619-1677)

    Barbara Strozzi was said to be, ‘the most prolific composer – man or woman – of printed secular vocal music in Venice’ in the mid-17th century. She was the composer of 8 volumes of dramatic vocal music during the Baroque period. Her first book of songs were settings of her father’s lyrics. Guilio Strozzi was an enlightened dramatist and librettist who encouraged both Barbara’s performing as a singer and her composing. Her works – three quarters of which were written for soprano – have a lyrical sound and her lyrics were often poetic; she published one known work of religious pieces.

    Strozzi also broke new ground as the first woman to publish her music under her own name, instead of using a male pseudonym.

    Isabella Leonarda (1620-1704)

    Leonarda spent her life – from the age of 16 onwards – in a convent, where she worked on her compositions and taught her fellow nuns. Her published compositions span a period of 60 years – she’s credited with producing nearly 200 compositions in the Baroque era. She wrote music in nearly every sacred genre, from motets and sacred concertos to sacred Latin dialogues, psalm settings, Magnificats and masses. Her ‘Sonata da Chiesa, Op. 16’ was the first published instrumental sonata by a woman.

    Leonarda’s music is notable for its intricate use of harmonies; she was educated in formal counterpoint, and uses it in many of her pieces. Her sonatas were unusual, often departing from the standard four movement form; Sonata 4 has as many as 13 movements.

    Élisabeth Jacquet de La Guerre (1665-1729)

    Parisian harpsichord prodigy Élisabeth Jacquet de La Guerre was born into a family of musicians. She played for Louis XIV at the age of five and a contemporary chronicler described how, ‘sometimes she improvises one or another for a whole half hour with tunes and harmonies of great variety and in the quite the best possible taste, quite charming her listeners.’

    She mainly composed for the harpsichord, and Cephale et Procris in 1694 was the first opera by a woman to be staged in France. She also created dramatic violin sonatas, noted for their bold, structural freedom.

    Marianna Martines (1744-1812)

    Marianna Martines’s neighbour in Vienna was Joseph Haydn. Her family arranged for the precocious Marianna to have a wide-ranging education – including piano lessons from Haydn - and the prodigy performed in front of the imperial court and played with Mozart.

    Marianna wrote everything from masses to motets and three litanies for choir. She wrote in the Italian style, which was typical for the early Classical period in Vienna. Her music became known throughout Europe and she became the first woman to gain admission to the Accademia Filarmonica of Bologna in 1773. Her list of surviving works comprises two oratorios; four masses; six motets; psalm cantatas; secular cantatas; three keyboard sonatas, three keyboard concertos; and a symphony.

    Louise Farrenc (1804-1875)

    France’s first major female composer of the 19th century was also influential as a performer and Professor of Piano at the Paris Conservatoire for 30 years. She married flautist Aristide Farrenc, and he founded Editions Farrenc, which led to the publication of her works – it became of one of France’s leading music publishers for nearly 40 years. Farrenc’s compositions in the Romantic period include three symphonies, a few choral works, numerous chamber pieces and a wide variety of piano music.

    She progressed from composing exclusively for the piano in the 1820s and 1830s to branching out into orchestral and chamber music – the latter is regarded as her best work.

    Fanny Mendelssohn (1805-1847)

    The German sister of composer Felix Mendelssohn composed more than 450 works, including a piano trio, 250 lieder (art songs) and several books of piano pieces and songs. She grew up in Berlin and received a thorough musical education from teachers including her mother and composers Ludwig Berger and Carl Friedrich Zelter. Zelter wrote to Goethe that Fanny, ‘could give you something of Sebastian Bach. This child is really something special.’

    In 1841, Fanny composed a cycle of piano pieces depicting the months of the year, Das Jahr. In a letter she revealed that, ‘I have been composing a good deal lately, and have called my piano pieces after the names of my favourite haunts, partly because they really came into my mind at these spots, partly because our pleasant excursions were in my mind while I was writing them. They will form a delightful souvenir, a kind of second diary. But do not imagine that I give these names when playing them in society, they are for home use entirely.’

    Her music was strongly influenced by Beethoven’s later music in terms of form, tonality and fugal counterpoint. There’s been renewed interest in Mendelssohn and her works from the 1980s onwards, with the Fanny and Felix Mendelssohn Museum opening in 2018 in Hamburg.

    Clara Schumann (1819-1896)

    Clara Schumann composed virtuoso piano music from a young age, including her Variations on a Theme by Bellini when she was just 16. Married to Robert Schumann, Clara’s career as a composer was undoubtedly hampered by having to support their eight children.

    Clara enjoyed a 61-year concert career during the Romantic era, but lost confidence in her composing in her mid-30s: ‘I once believed that I possessed creative talent, but I have given up this idea. A woman must not desire to compose – there has never yet been one able to do it. Should I expect to be the one?’

    Nevertheless, Classical-music.com declared that, ‘A towering musician, Clara Schumann’s influence on the repertoire, on the recital format and on an approach to the piano that favoured searching musicianship over display are as important legacies as her music.’

    Having written piano pieces in her youth, after her marriage, she turned to lieder and choral works. Most of her music was never played by anyone else, and largely forgotten until a resurgence of interest in her work in the 1970s.

    Teresa Carreño (1853-1917)

    Hailing from Venezuela, Carreño was a pianist, singer and composer who performed for Abraham Lincoln at the White House in 1863. She composed at least 75 works for solo piano, voice and piano, choir and orchestra and instrumental ensemble.

    Carreño had a 54-year concert career and became internationally famous, often referred to as the ‘Valkyrie of the piano’, as she played the works of Chopin, Liszt, Tchaikovsky, Grieg, Schumann, Beethoven, Schuber, Mendelssohn and more.

    Cécile Chaminade (1857-1944)

    Chaminade was a French composer and pianist who in 1913 became the first female composer to be awarded the Legion d’Honneur, and of whom Ambroise Thomas said, ‘this is not a woman who composes, but a composer who is a woman.’

    In 1869, she performed some of her music for Georges Bizet, who was impressed with her talents. From 1878 onwards, she only performed her own works at concerts. Having performed concerts in the US in 1908, her compositions became favourites with the American public. She went on to compose the ballet music for Callirhoe and other orchestral works.

    Her most popular piece is the Flute Concertino in D major, Op. 107, composed for the 1902 Paris Conservatoire Concours. Describing her own style, Chaminade wrote, ‘I am essentially of the Romantic school, as all my work shows.’

    Ethel Smyth (1858-1944)

    Ethel Smyth was an English composer and suffragist – her 1911 composition, ‘The March of the Women’, became an anthem of the Suffrage Movement (she even served to months in Holloway Prison for breaking a window.)

    As you’d probably expect from a suffragist, Smyth wasn’t interested in composing ‘feminine’ songs or piano miniatures. Her work instead embraced ambitious, large-scale forms, including the Double Concerto for horn and violin, the Mass in D and six operas. Der Wald was staged at New York’s Metropolitan Opera in 1903; it remained the only opera by a woman composer produced at the Met till 2016.

    Smyth’s opera The Wreckers is considered by some critics to be ‘the most important English opera composed during the period between Purcell and Britten.’ In 2022, it was performed at the Glyndebourne Festival Opera – the first professional production in its original French libretto.

    Lili Boulanger (1893-1918)

    Marie Juliette ‘Lili’ Boulanger was a French composer and the first female winner of the Prix de Rome composition prize at the age of just 19. Lili was a prodigy whose talent burned brightly – but was extinguished when she died aged only 24.

    Gabriel Fauré, a friend of the family, discovered that Boulanger had perfect pitch when she was two years old, and her parents encouraged her musical education.  Boulanger and her sister, Nadia, were both influenced by Debussy and her music fits easily into what was becoming defined as a post-Romantic style.

    Florence Price (1887-1953)

    Price was a pioneering force in the US, overcoming tough odds to become the first African-American woman to be recognized as a symphonic composer, and, in 1933, the first whose work was played by a major orchestra.

    Her prolific output resulted in around 300 works – including four symphonies, four concertos, choral works and chamber music - many of which weren’t discovered until years after she had died. In 1940, Price was inducted into the American Society of Composers, Authors and Publishers for her work as a composer.

    Anne Dudley (b. 1956)

    Anne Dudley originally made her name as a session musician, working with producer Trevor Horn on albums such as ABC’s The Lexicon of Love. She was a founding member of Art of Noise, who helped to pioneer sampling within pop. After a lengthy career working with and producing pop acts, she turned her hand to composing for the orchestra, with Northern Lights, a 14-minute reflection of Norway’s Aurora Borealis for a full orchestra, in 2005.

    As well as claiming an Oscar, Dudley also has a Grammy award, two BRIT awards, and three Ivor Novello Award nominations.

    Judith Weir (b. 1954)

    Judith Weir CBE trained with John Tavener, and her music often draws on sources from medieval history, as well as traditional stories and music from her native Scotland. Best known for her operas – Blond Eckbert and Armida – and theatrical works, she has also composed orchestral and chamber works.

    Weir became the first woman to hold the office of Master of the King’s Music when she was appointed in 2014 by Queen Elizabeth (when the post was known as the Master of the Queen’s Music.) She was commissioned to compose an a capella work for the state funeral of Elizabeth II and wrote a setting of Psalm 42, ‘Like as the Hart’; her piece ‘Brighter Visions Shine Afar’ was performed at King Charles III’s Coronation. She won the Ivors Classical Music Award at the Ivor Novello Awards in 2015.

    Debbie Wiseman OBE (b. 1963)

    Classic FM’s Composer in residence is one of the UK’s most successful female music ambassadors. Over the past 20 years, she’s amassed over 200 credits for both the big and small screen.

    Debbie has been nominated for two Ivor Novello Awards and won an RTS Award. She was one of 11 composers chosen to compose music for the Queen’s Diamond Jubilee Pageant and was the official composer and musical director of the Platinum Jubilee Celebration at Windsor in May 1922.

    In 2022, Debbie was voted the most popular living British composer for the first time in Classic FM’s Hall of fame, with seven entries, including The Mythos Suite.

    AyseDeniz Gokcin (b. 1988)

    AyseDeniz Gokcin is a Turkish classical crossover pianist and neo-romantic composer. She started playing piano aged five and was considered a child prodigy. After graduating with a bachelor’s degree from Eastman School of Music, she completed a master’s degree at the Royal Academy of Music in 2011.

    She has recorded an EP of her arrangements for solo piano in the style of Liszt of Pink Floyd tracks, Pink Floyd Lisztified, a Nirvana album and a classical album recording of Chopin, making her one of today’s composers who are taking inspiration from the classical greats to push the boundary of what it means to be a ‘classical composer’.

    She told NetInfluencer.com that she feels strongly that everyone should be able to listen to as many types of music as they’d like, which is why she does a lot of rock covers and composes her own music – to inspire others to listen to different genres and styles of music.

    When it came to her own compositions, she said, ‘I started doing more original compositions because I thought, “Okay, why not? Since I’m doing all these arrangements [that] are very different than the originals, I could definitely compose my own things”… the album I recorded became top two in the US classical charts and in the UK as well.’

    Take a listen to her new tracks on her album, Patterns, which includes tracks such as ‘After Bach’.

    Looking For More Inspiration?

    If you want to learn more about the history of women in music then we have a wealth of articles, from the top female Nigerian artists to the key women in hip hop, the trailblazing women in music, film and art to the female directors you need to know.

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    This page was updated 24/04/2024.

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    Why Is Music So Powerful in Video Games

    WHY IS MUSIC SO POWERFUL IN VIDEO GAMES?

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      You’ve nailed the perfect heist. You’ve stormed the villain’s lair and decimated a horde of henchmen. You’ve suffered the loss of a beloved character. When it comes to the components of a good video game, alongside fantastic graphics, involving plots and stellar characters, is there something that you’re not paying as much attention to?

      Movies can be taken up a whole level by a brilliant soundtrack, and the music for games is equally important. Why is music so powerful in video games? Read on for our deep dive on the effect of music in video games, and some of its most celebrated composers.

      Regular gamer? Bet you can hum composer Koji Kondo’s chirpy theme for Super Mario Bros, or recognise the cinematic score for Medal of Honour (composer Michael Giacchino later won an Oscar for his score for Up). Want a blockbuster feel? Look to the Halo franchise – its soundtrack is still the best-selling video game soundtrack of all time. The NFL’s Madden soundtracks have even become an annual event, with artists clamouring to be featured and often releasing tracks only available in-game.

      But what would the gaming experience be like without these iconic soundtracks? They’d definitely be a lot less engaging and fun to play.

      Early Video Games

      During the 8-bit era, developers brought in composers to score the games – however, they were pretty simple (as were the games themselves, to be fair.) The move to 16-bit meant that games music could be more than catchy little jingles and use better quality music, with many using full orchestral arrangements.

      Soundtracks changed forever, though, in the 64-bit era, when new tech capabilities enabled game designers to be more influenced by the movie industry. Game music emerged from the background and was used to drive forward the experience, by being integrated with each part of a game’s story and play.

      In this new era, music could turn games into unforgettable experiences – and transport gamers to somewhere else entirely, immersing them fully into the world.

      Music + Games = Global Success

      When it comes to games with good music, Madden NFL has been building its reputation for a long time. And the President of EA Music, Steve Schnur, told EA.com that no-one should underestimate the impact of its soundtracks: ‘Over the past decades, Madden NFL has become a platform for fans to discover new music, launching new stars and establishing trends that have changed the way players play the game and how they experience NFL football itself.’ The soundtracks are innovative and, ‘connect gaming, football and music culture for the next generation.’

      For their ground-breaking 2022 album, EA worked hand-in-hand with Interscope and their artists to create 11 custom songs from scratch, conceptualising, writing and ensuring the tracks worked on every level to fit – and elevate – the vibe of Madden NFL 22, which promises fresh experiences with every kick-off.

      Good game music has to fit in with gameplay, as well as connecting with the visuals. When the two come together, it can really contribute to a game’s overall success. Video games composer Winifred Philips, who created the soundtrack for Assassin’s Creed: Liberations, and the original God of War, revealed that the energy levels and rhythm of the gameplay are particularly important to lock into:

      ‘Gameplay is, for a composer, very much a structure that we wrap our music around. There is an inherent energy level and a visual kinetic rhythm to gameplay that as a composer I try to pay very close attention to. If I’m doing my job correctly, my music is going to kind of jigsaw well into the overall visual rhythm of gameplay, it’s going to feel like it really marries well to the energy level and promotes the players’ immersion and involvement.’

      How to Make Music for Video Games

      When you’re watching a film, the story is linear. Shots are edited into a set order, accompanied by pre-defined musical cues. Within a game, however, the player is, to varying degrees, much more in control of how the story plays out. So the music needs to adapt to the player’s choices within the narrative.

      Music in games, much like music in films, acts as a guide to the player. You’re not just watching out for visual cues, but also listening to the sound and music to see if there’s danger approaching. Are you in fight or flight mode? Is there time to just enjoy the world you’re in and wander around, as in Animal Crossing, guided by the sound of bees, or apples falling from trees?

      A games music composer talks to the game’s developers about what emotions they want to evoke from the player and also, where possible, they play the latest version of the game to get a feel for it. Video game composer Grant Kirkhope told Mashable that, ‘the images tell the story, but the music tells you how to feel.’

      Gareth Coker composed the soundtrack for 2020’s Ori and the Will of Wisps and stresses the importance of creating defined ‘moments’ for games players, when thinking about video game background music: ‘Having that differentiation between combat music and boss fight music and then regular gameplay music – and there being quite a wide dynamic range between all three of them – is the key to building an emotional experience. If you have everything at ten all the time, it’s just not going to register.’

      With platform games, where you may have to try, try and try again to make it through each level, the music also provides an encouraging backdrop to keep players motivated. Games music can create the subliminal messages that you’re on the right track, or that something is about to change – i.e. that you’re progressing.

      This is where it helps if a composer can play the game; a level may need far more music than you think, if it’s going to take hours to complete. The gamer doesn’t want to be hearing the same thing over and over, leading to a sense of monotony.

      The Last of Us Soundscape

      Argentinian composer Gustavo Santaolalla has become famous worldwide for his distinctive soundtracks for The Last of Us games. For the second game, as well as the ronroco (an Andean instrument like a mandolin) and the Fender bass and acoustic guitar he’d used to create the themes for the first part, he brought in a banjo to create a new element, tying into the game’s American setting.

      He discusses the similarities between composing for games and movies (he took home an Oscar for his original score for Brokeback Mountain) and the thinking behind his choice of instruments for The Last of Us.

      Santaolalla highlights the fact that, as a games music composer, you’re tasked with creating many hours of music – not all of which may be used.

      Plus, as Gramophone highlights, ‘compositions today are primarily interactive: composers cannot know in advance how players will react – each will have a different approach. This entails complex work with audio tracks; whether it’s menacing layers of strings that glide into the soundtrack when players put themselves in danger, or brass fanfares when they’re successful.’

      Lorne Balfe is one of the most prolific video games composers. The Grammy Award winner earned a BAFTA nomination for Best Original Music for his soundtrack for Assassin’s Creed: Revelations while Assassin’s Creed III earned him his second. Together with Beyond: Two Souls and Skylanders: Swap Force, Balfe has also made his mark with Call of Duty:Modern Warfare 2.

      Balfe, who composes for TV (His Dark Materials) and films as well (including last year’s all-conquering Top Gun: Maverick) told PCPlayerHub.com that if you want to try your hand as a composer, you don’t necessarily need to be a hardcore gamer:

      ‘A lot of people think you’ve got to be a gamer to do game music, but I have worked on a lot of games and I know a lot of the guys who make them and they don’t have free time to play them. Just like I know people who act and don’t have TVs. I don’t think it makes a difference, as long as you understand the technical points of what it has to do. I don’t think anyone wants me to write game music, they want me to write music that matches the game.’

      He also flags that games and movie music have diverged in recent years: ‘When I first started, games used to reference film. Music was a reference from films. Now, in the last year or two, I haven’t gone into a meeting with a game company where they’ve referenced a film. They want their own identity. Now it’s a role reversal.’

      Licensed Music for Video Games

      However, if you’re looking to create atmosphere, then you can also use licensed music, rather than getting music composed from scratch, which can be an advantage if you’re dealing with a smaller budget.

      Games such as Crazy Taxi, Gran Turismo and Tony Hawk’s Pro Skater used licensed songs. As well as tapping into pop culture, licensed music has been used in innovative ways in games. The Grand Theft Auto franchise is widely regarded as one of the greatest ever game series. Its in-game radio stations let players choose the songs they wanted to listen to as they drove around, making the whole scenario feel even more ‘real world’.

      Saints Row 2 took this even further: you have the option to create your own mixtapes.

      If you need music to license for a game you’re developing, then look no further than the Audio Network catalogue. We have literally hundreds of thousands of tracks to choose from – and a ton of specially-chosen playlists for inspiration and to get you started. From blockbusters to action, whimsical comedy to otherworldly fantasy, you’ll be levelling up in no time.

      Using our original, high-quality music will make your games stand out from the crowd. Plus, we’ve got a variety of different subscriptions, depending on how much music you need. Why not have a free trial of our Essential Edit?

      Discovering Music Through Gaming

      Games can be an entry point for discovering all kinds of music. According to YPulse.com, two in five Gen Z-ers say video games influence the music they listen to – and with 96% of them playing video games in some capacity, that’s a huge opportunity to introduce them to music.

      With its mix of artists on the cusp of huge success and globally established names, NFL’s Madden soundtracks are almost as eagerly anticipated as the annual game release itself. FIFA also got in on the action last year, showcasing their music from video games by collaborating with Spotify to release a playlist of players’ favourite songs from their soundtracks over the past 25 years.

      Gen Z gamers spend an average of five to seven hours a week playing games and 30% of them overall say they use video games to listen to music. Fortnite and League of Legends have joined Madden NFL in collaborating with major artists for game songs and events.

      A poll by the Royal Philharmonic Orchestra suggested that computer games are an important ‘access point’ for young people to experience classical music for the first time, as the orchestra’s managing director James Williams told the Telegraph:

      ‘It is encouraging to hear that there are platforms and opportunities for young people to engage with orchestral music, albeit in different mediums. It is about sparking their interest. What we are finding is once we have lit that fire there is a real desire to carry that journey on and explore. If [computer games] are the trigger and the catalyst that can only be a really positive thing.’

      Children aged six to 16 were asked about how they experience classical music; around one in six said they listened to it, ‘when it’s part of a computer game I’m playing.’

      Winifred Phillips thinks that games music is, ‘essentially a form of contemporary classical music, but it has a connection with a more immediate contemporary culture, so that it’s more identifiable, accessible to a more mainstream audience.’ Her music for Assassin’s Creed, for example, has a definite baroque feel to it.

      West Australian Symphony Orchestra ex-principal conductor Paul Daniel believes that the best video game scores, ‘reference great symphonic composers like Wagner, Mahler, Shostakovich, Holst and John Williams’.

      Similarly, many of the most celebrated Japanese video games composers have revealed that they’ve been influenced by classical composers in the same way. Pokemon’s Junichi Masuda, who cites Stravinsky and Shostakovich as inspirations, to, ‘the Beethoven of video game music’, Nobuo Uematsu, who based the lyrics for the intro to ‘One-Winged Angel’ from Final Fantasy VII on the medieval poetry Carl Orff used for Carmina Burana.

      Awards for Video Game Music

      In 2012 Journey became the first ever video game to be nominated for a Grammy for its score, proving that game music is now celebrated for its quality and popularity outside of the games industry. The Grammy Award for Best Score Soundtrack for Videogames and Other Interactive Media was first presented at the 65th Annual Grammy Awards in 2023. This award was introduced to recognise the impact of music specifically written for video games (it’s a sister category to the Grammy for Best Score soundtrack for Visual Media, which covered film, TV and video games).

      The winner of this inaugural Grammy was Stephanie Economou’s Assassin’s Creed Valhalla: Dawn of Ragnarok.

      At the 2022 Game Awards, Bear McCreary won Best Score and Music for God of War Ragnarok. Clearly there was something about Norse mythology that caught the judges’ ear this year.

      McCreary’s work for the God of War saga brings in an Icelandic choir, Nordic instruments like the nyckelharpa and hurdy gurdy, together with plenty of orchestral bass to create an epic feel that’s also tied to its Norse roots.

      The 2022 BAFTA Games Award for best music was taken home by the night’s big winner, Playstation 5’s Returnal. The soundtrack was written by British composer Bobby Krlic, aka The Haxan Cloak. Krlic has worked with Björk, Father John Misty and Goldfrapp, and composed the soundtracks for horror film Midsommar and TV series Snowpiercer.

      On the Playstation blog, Krlic explained his approach to Returnal’s soundtrack:

      ‘[The game] is really about one person’s determination to get to the bottom of this mystery that’s surrounding her. There are so many different things to speak to: there’s determination. There’s sadness, confusion. An ever-lingering threat and horror that never really subsides through the game. It’s figuring out how to then have all these things complement each other and theoretically have them be a bit like a liquid jigsaw; everything tessellating together but also keep moving along.

      Building things, custom synths, using a theme, then breaking that theme down to its DNA and reassembling it… there’s so many musical elements to this that I’ve just found really stimulating. I think it made something that – for me – sounds really fresh to my ears, in terms of my catalogue.’

      Live Music

      As well as games music being showcased by awards ceremonies, its importance as an art form is demonstrated by the fact that live performances, staged in concert halls around the world, have become hugely popular over the last couple of decades. Video Games Live is an immersive event featuring music from the most popular video games of all time. Top orchestras and choirs perform along with exclusive video footage and music arrangements, live action and unique interactive segments.

      Japanese conductor and composer Koichi Sugiyama kick-started the trend with his first Family Classic Concert in Tokyo in 1987. He wanted to bring families to classical music, so took the unusual approach of combining music from Camille Saint-Saens’ Carnival of the Animals with his own work – the music from the Dragon Quest video games series.

      In Europe, a 2003 performance at the Leipzig Gewandhaus launched a series of world tours with renowned orchestras such as the London Symphony Orchestra, the Royal Stockholm Philharmonic Orchestra and the Melbourne Symphony Orchestra.

      Plus, artists are seeing the value of connecting with games audiences, creating even more of a crossover. In 2019, electronic musician Marshmello played his set to 10 million people in the multiplayer battle royale game Fortnite, and Lil Nas X has performed live in Roblox.

      Level Up

      Find out more about the wonderful world of games music with our deep dive articles on iconic Japanese composers, NFL’s Madden soundtracks and different types of animation.

      Or check out our music for games for inspiration:

      Plus, listen to acclaimed Call of Duty-composer Lorne Balfe’s new tracks for Audio Network.

      The Lorne Balfe Collection of hybrid orchestral music brings you the real sound of Hollywood, produced and curated for production music use. Whether you need a track for an epic trailer, a huge action set piece, music to create a world of fantasy or adventure, this is the collection that consistently delivers, creating an impact as well as setting the scene. Check it out below.

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      How to Record High Quality Audio on Set

      HOW TO RECORD HIGH QUALITY AUDIO ON SET

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        When it comes to recording high quality audio, for music, video or podcasts, what are the tips that will help you to minimise things like hum, buzz and hiss, and maximise your sound?

        Read on for our top tips on equipment, location, editing, testing and more.

        Equipment

        If you’re aiming for a really clean sound, then investing in the right microphone is your key starting point. But how to choose which one is the best for you?

        It’ll depend on whether you’re recording vocals or instruments. One way to decide is to book a session at a professional recording studio and try out a variety of microphones. Then listen back to your recordings and get some feedback. (Make sure to note down which mics you used on which track!)

        Check out mics from brands such as Rode, Shure, Sennheiser, Blue and Audio Technica. Plug in an external microphone into your camera’s microphone jack if you’re recording video as well, or record your audio completely separately.

        NPR Music’s video shows you how to mic up speakers and amps in the same way as they do for their ‘Tiny Desk’ performances, which have featured everyone from London’s Ezra Collective to cast and musicians from The Lion King and Santigold:

         

        Get the microphone – or your speaker/amp – as close as you can to you, to minimise crowd noise if you’re playing at a live gig. And unless you’re aiming to record ambient sound, the closer your mic is to the source of the sound you’re recording, the lower the sensitivity setting can be on your microphone. Which means that any sounds you’re not trying to record will sound fainter.

        Audio for Video Content

        What kind of mic is best for YouTube or podcasts? Javier Mercedes has you covered, across a variety of budgets:

         

        Ideally, mics should be at a distance of around 6-14 inches from your subject. If you can’t get that close because you’re using an overhead mic and it’ll appear in the shot, then just get as near to it as possible. This will then avoid picking up ambient noise or any reverb that’s bouncing around your space.

        Different Microphone Types

        To record sound on a set, depending on what you’re shooting, these are the microphone options: handheld, mounted, suspended, boundary, lavalier (or lav) and wireless. Most handheld mics can also be mounted to stands, booms or camera attachments.

        Videomaker.com advises that ‘stage productions use a blend of suspended overheads, dynamic boundary mics along the front of the stage and flesh-coloured wireless headsets.’

        Lavaliers are the small, clip or tape-on mics that you often see newsreaders wearing – you attach them to clothes. They have the advantage of being discreet and portable, and they’re easy to conceal under clothes if you don’t want to see them on-screen.

        If you’re shooting music videos, where people are moving around a lot, you’ll need a boom operator to track your subject(s) to keep the mic as close as possible.

        Where possible, always have at least two mics, so that you have a back-up recording if anything goes wrong!

        Location

        Not everyone gets to record in spaces that are specifically designed for it. Which was something that a lot of broadcasters and podcasters realised when they had to broadcast from home during the pandemic lockdowns.

        To make audio sound better, you need to be really attuned to the acoustics and subtle sounds in the background – whether these are in the room, or coming from outside.

        To check if you’re in a room with a lot of echo, or reverb, you can do a quick clap test – see how much sound bounces back from things like hardwood floors, bare walls and ceilings.

        How do you record clear and crisp audio? Here are some options:

        • Try to eliminate or minimise those hard surfaces – the sound will bounce off them
        • Books can be a good option for covering hard surfaces – making a study a good place to record, if you have one
        • With hard floors, try to cover them with a rug or carpet
        • Add curtains or blankets to the walls. Or put up acoustic materials like sound dampening panels or acoustic foam
        • Put up lights stands, with blankets over them
        • Furniture also works, if you have room – a big couch will block echo
        • Are there things in the room that are generating noise? Look out for computer fans, heating, air con or fluorescent lights.
        • What about outside noise? Think about how to screen out traffic if you’re near a road

        For outside noise, try to choose the best location for recording. Think about somewhere that’s out of the wind (it can sound surprisingly loud!), away from traffic or noise such as building work and other street sounds. You can even record later at night, when most people are at home, have stopped working, or are sleeping, if you’re recording in a flat or building where there are lots of other people around.

        If you’re recording audio indoors, then if you don’t need a huge amount of space, using a small room – even a closet – is often easier than trying acoustically treat a bigger room.

        For podcasts, tutorials or video content you’re recording at home, or in an office, try noise-cancelling tool Krisp, which removes background voices, noises and echo.

        How to Improve the Audio Quality of a Recording

        So, you’ve tried as hard as possible to follow all the advice above, but your audio still has a few problems. Or, you had to record something on the fly, without being able to go through all your usual noise-reduction hacks. What are the best ways to remove background noise from your recording?

        Repairing damaged audio files is called audio restoration. Engineers most often recommend audio repair plugin bundles, such as iZotope’s RX 7 bundle. BlackGhostAudio.com recommends RX 7 Elements, which will remove clicks, clips, hum and noise: ‘Most music producers dealing with controlled environment recordings will be happy with RX 7 Standard, while post-production engineers dealing with problematic field recordings will want to take a look at RX 7 Advanced.’

        They also recommend Waves’ Restoration bundle and Accsuonus’ ERA Bundle PRO. Clicks and other digital impulse noise can be fixed using a de-click plugin. Vinyl crackle or dry-mouthed dialogue on podcasts can be tackled with iZotope’s De-crackle, or Waves’ X-Crackle.

        If you’re dealing with the kind of ambient noise from recording in a flat or house, then de-noise plugins are your friend. Ideally, you want to capture a ‘noise profile’ by analysing a section of your audio recording in which there’s only noise, and nothing else. The plugin will then use the profile to remove that noise from beneath vocals or instruments. iZotope’s RX 7 Voice De-noise and Waves’ Z-Noise will both do the trick.

        Other recommended software includes Camtasia, which has a built-in noise removal feature, or use Audiate, which also makes audio editing easy.

        If you’re recording podcasts, then you need to get close to the mic. However, this can result in ‘plosives’, the air from consonant sounds. Grab yourself a pop filter – the screen that goes around or in front of the microphone – and you’ll have instantly improved your audio quality. (Some mics have a built-in pop filter.)

        Editing

        Videomaker.com advises that, ‘editing means lining up your tracks, creating your timeline, stripping away silence, removing unwanted sounds and checking for correctness.’ Quality editing and production will massively improve your audio quality. If you’re creating podcasts, then hire a producer if you have the budget. Alternatively, check out Auphonic, a useful piece of software which helps you to level your audio and remove background hiss and noise.

        Audacity is a free, cross-platform audio software for Windows, Mac OS X and Linux that’s a multi-track audio editor and recorder. Check out this beginner’s tutorial to get started:

        Using a DAW (Digital Audio Workstation) and editing tools in post-production will help your audio sound the best it can. You can use these tools to fix common problems such as changing audio levels through a recording, from very loud to very quiet. If you’re using Premiere Pro, then try the EQ (parametric equalizer) and compression tools.

        Simply put, compression closes the gap between the loud and quiet parts of an audio track by making the loud parts quieter, and the quiet parts louder, evening out the audio track so that it’s playing at a consistent volume. The Premiere Pro tool you’re looking for is ‘Dynamics’.

        A top tip when you’re editing and mixing is to listen to the audio through different headphones and speakers. Studio monitors will have a lot more ‘low end’ than cheap laptop or phone speakers.

        Expert Guides

        So there you have it – how to record high quality audio in a few easy steps. Want more expert advice? Check out our articles on how to make a great YouTube video and tips on making music videos, or the ultimate guide to starting as a podcaster.

        Want to Get Your Hands on Our Latest Releases?

        When you need to license music for your production, we have thousands of original, high-quality tracks to discover.

        For example, if you're after a west coast sound with a UK twist, then we definitely encourage you to check out our latest release from Johnny Lloyd and Clif Norrell.

        Titled Reanimate, this is an uplifting and laid-back collection of guitar and vocal led indie-rock. Take a listen below.

        Need Music for Your Project?

        At Audio Network we create original music, of the highest quality, for broadcasters, brands, creators, agencies and music fans everywhere. Through clear and simple licensing, we can offer you a huge variety of the best quality music across every conceivable mood and genre. Find out how we can connect you with the perfect collaborator today by clicking the button below!

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        How to Record a Live Session

        HOW TO RECORD A LIVE SESSION: EVERYTHING YOU NEED TO KNOW

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          Live music is big business and it’s one of the key ways that fans discover up and coming singers and bands. But if you’re not equipped with an Ed Sheeran-level touring budget to hit the stadiums, then recording a live session can be a great way to show people what you’re made of.

          Here’s our step-by-step guide on how to record a live session, covering all things audio and visual – as well as some of the challenges you might come acrossif you’re new to videoing your music. We’ll be covering:

          • Why record live sessions?
          • Videoing a band
          • Location
          • Prepping the space
          • Lighting
          • Video quality
          • How to record live music
          • Mics, mixers and digital recorders
          • What are the challenges?
          • Editing (mixing and mastering, video editing)
          • How to promote your video

          Why Record Live Sessions?

          If you’re an artist or a band, then even something as simple as recording one of your practice sessions has plenty of benefits. It gives you instant feedback on your performance and where you can improve. If someone improvises a brilliant solo or riff, or just comes up with an idea you can expand on later, then you’ve captured it. Plus, it’s all potential content to connect with fans and get their feedback through social media.

          You can film a live studio recording as a demo or use it to try out a different direction for a particular track – with moody, stripped-back lighting for something that’s usually more high-impact, for example, or to try out an acoustic set if that’s not your usual vibe.

          Videoing a Band

          For a filmmaker, shooting a band playing live can give you a great insight into learning how they play and flow together, and how to capture the band’s dynamics.

          If you’re starting out as a filmmaker, or a video creator, then it’s great to practise with these kinds of sessions. You don’t need a huge budget, with a mass of sets, effects or costumes dictated by an ambitious concept. You can film with something as simple as an iPhone, or experiment with a three-camera set up, making it easier to vary your shots.

          Location

          Recording spaces can range from your living room to a practice hall or studio, or a set at a venue.

          If you’re in a studio or quite a ‘blank’ space, though, you may have to work out some ways to give your location a bit of personality or atmosphere and mood, through lighting and camera placements.

          Prepping the Space

          Ideally, go into the space where you’ll be shooting to do some planning with your cameras and pre-lighting, the day before the shoot. If you can get stand-ins, then all the better! This means you can experiment, for example with top-down lighting to spotlight a singer.

          If you don’t own a huge variety of lights, remember, you can always hire a few key ones.

          Discuss with the band beforehand what kind of feel they want from the video and how it matches their track. Work out which of the band’s members you’re primarily focusing on, and what part the others are playing. How much attention do you need to give each one? This will help you to nail down the lighting and a shot list, which will make editing the final video easier.

          This video has great tips on lighting live music set-ups if you’re on a budget, including utilising natural light, if you have it.

          Video Quality

          To give yourself plenty of choice when you’re editing the video, get a variety of shots. If time permits, then aim to get a variety of single, long takes of each band member, even if they’re not playing or singing throughout the whole take; this will give you more options when it comes to the edit. Start by shooting your priority band member, to make sure you have all your key shots covered, from wides to close ups, and then work down the list.

          Harv Video has tips on using three cameras to film a band in a studio, which is a fairly standard filming set up, and enables you to capture specialist shots like drum fills or guitar solos easily:

          He also covers colour and contrast grading and shot-matching during the editing process. If you have a multi-camera setup, compare your white balance, ISO, shutter speed, picture profile, etc. Try to get a uniform-looking footage with all the cameras, as this will make the post-production procedure much easier.

          Low-To-No-Budget?

          No budget for professional cameras? You can film on an iPhone – you’ll get the best result if you can set up multiple ones – and mount some of them on tripods for static shots.

          If you’re filming a gig at a venue, then check out these five essential tips – complete with a full list of recommended cameras, lenses, etc:

          How to Record Live Music

          What Will You Need?

          First up, make sure you’ve got all the right equipment. From instruments and amps to a laptop with DAW (Digital Audio Workstation) software – for example GarageBand - you’ll also need an interface that can take multiple XLR inputs. Plus enough XLR cables. Make life easier by labelling them with each source, so the signal paths don’t get confused. And, of course, don’t forget the mics.

          Mics

          When it comes to recording live music, a must-have is dynamic mics for the amps, plus condenser and dynamic mics for the drums.

          Musician’s Friend has a great how-to on how to mike up a standard 4-piece band, comprising vocals, guitars, bass and drums:

          You can also ask in a music shop to see what mics they recommend.

          Using multiple mics to record the instruments means you’ll have to navigate ‘spill’ or ‘bleed’ between them. This is when one mic’s instrument is picking up the sound of another’s – particularly from drums. A hack to minimise bleed is to position your band members in a semi-circle, so they’re spaced out, but close enough to communicate. For vocals, you might want to record them in a separate session, or a stand-alone take.

          Mic everything as closely as possible – and MacProVideo.com advises utilising direct outs/direct boxes whenever possible. ‘The more direct and isolated you can capture a sound, the more you can manipulate that sound in the mix.’

          Audio Interface

          This is a conduit that allows you to capture the direct signal from your soundboard into your recording device. This then connects to your computer, or even an iPad.

          Mixers & Multi-Track Recorders

          Bands need a mixer, so why not have one that’s also a recorder? Look at TouchMix or Tascam for a variety of models.

          Portable Digital Recorders

          Alternatively, if you’re on a budget, you can record your instruments on a portable digital recorder, such as the Zoom or Tascam, into which you can plug mic inputs.

          You can then import your tracks into the DAW in order to mix them. Plus, you can use a recorder such as the Zoom if you’re recording audio at a live gig with a crowd. This enables you to mix the live music and bring in some crowd noise, for atmosphere, without the latter drowning out the former.

          Mix Engineers

          If you’re working with live audio, then it’s great if you can get a mix engineer – also known as audio engineers – on board as part of your crew. Again, if you can get access to your location ahead of time, then the mix engineer can check out how the sound carries within the space.

          What Are the Challenges of Recording a Live Session?

          There can be all sorts of issues that come up when you’re recording and filming live sessions. Here are some things to watch out for (sometimes literally!)

          If you’re filming in a studio, or a small space, then there may be a lot of equipment and cables around. You need to plan your shots and your movements if you’re using a hand-held camera, to ensure that you don’t trip over, bang into or knock anything over. Some of this equipment can be worth thousands of pounds!

          If you’re doing multiple takes, because you only have one camera, then you can get your sound engineer to record the audio during the shooting from one angle. The group or band can then play over their recording for the other angles. Ideally, you always want to film the whole session live, to stay truer to the process of a live recording. But when this isn’t possible, this is one way to maximise angle changes, when you only have one camera.

          If you’re filming a live gig in a venue, then there may be someone there to help you to operate the lights, who can play around with gels, colours, etc. to bring more atmosphere and add depth and interest, even on a small stage.

          Jacques Gaines has useful advice on the challenges of shooting at live music events, including using cameras with automatic focusing, so that you can ‘set and forget’

          He also advises negotiating your access with the venue beforehand and asking plenty of questions. Can you go backstage? Are you able to shoot from behind the drummer? What about where the sound and monitor operators are? How close to the front of the stage can you get?

          Editing

          If you’re using software such as Final Cut Pro, then a good tip is to label your files with unique names when you’re filming. If you didn’t do this at the time, then put them in clearly labeled folders that are easy to organise when you import them.

          Then edit the audio files, mixing and editing them to get it sounding great. One of our most successful composers, Terry Devine-King, has great advice on mixing and mastering. Import the audio and then you’re ready to bring the two elements together!

          Read our guide to the best editing software, followed by a cheat’s guide to basic editing cuts, and then our deep dive on how to edit music to picture if you want more in-depth advice!

          How to Promote Your Video

          So you’ve recorded, mastered and edited your audio and your video. Now, how do you go about promoting it?

          Well, YouTube is still the go-to channel, with more than two billion users worldwide, and millions of videos. You can use YouTube ads to increase your visibility – you just need a Google Adwords account. Then choose the format of the ad and its location (in a video, via search, etc.) Create a target audience and set a budget that will be linked to the cost per click, or the cost per view.

          Build a community around your band by offering additional content on your YouTube channel, from behind-the-scenes clips from your live sessions and more, to vlogs on your musical influences.

          When it comes to YouTube searches, the title of your video is crucial and don’t forget to write a description and add relevant, accurate tags.

          Already got a fanbase? Post up some teaser clips and let them know when your video is dropping. Plus, share your video on your personal pages, your artist page and on platforms including TikTok, Instagram, Facebook, Twitter and more, depending on your audience. Make sure you optimise the video for each platform individually, as some of them have different preferred video formats.

          Check out what magazines and blogs like to post about new music and reach out to see if they’d like to post yours. Ditto for music influencers. You can also target communities that love your genre – but make sure to participate in these forums and become a part of the community before you promote your video.

          Beyond the Studio

          If you’ve been inspired and want to expand your skills, we’ve got tons of expert articles on everything from using green screen to all you need to know about using music in YouTube videos.

          Want to practise editing picture to music? Then you might want to license some tracks from our huge catalogue of original music! We've got over 200,000 wholly owned tracks from the most incredible albums, including AyseDeniz's latest release 'Patterns'.

          Patterns is an emotive set blending solo piano with lyrical pieces embellished by orchestral strings. Moods range from romantic and wistful to mysterious and dramatic - take a listen below and prepare to fall in love.

          Need Music for Your Project?

          At Audio Network we create original music, of the highest quality, for broadcasters, brands, creators, agencies and music fans everywhere. Through clear and simple licensing, we can offer you a huge variety of the best quality music across every conceivable mood and genre. Find out how we can connect you with the perfect collaborator today by clicking the button below!

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          This page was updated 24/05/2024.

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          What is bluegrass music

          WHAT IS BLUEGRASS MUSIC?

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            When we think of bluegrass music, we think of the kind of rural, acoustic music capable of instantly wiping away all your troubles.

            Often considered a close relative of country music, the genre is built upon soul-stirring sounds and thoughtful lyrics that, together, transport you to pastoral villages located within the Appalachian Mountain region of North America. But what exactly is bluegrass music?

            We’ve got everything you need know about this hugely popular genre, together with a look at some of the best bluegrass musicians – one of whom is a relatively new contributor to our ever-expanding collection.

            Contents

            • What is bluegrass music?
            • Where did bluegrass originate?
            • Who came first in the history of bluegrass music?
            • What are the main characteristics of bluegrass music?
            • The best bluegrass musicians
              • Bill Monroe
              • Alison Krauss and Union Station
              • Nickel Creek
              • John Hartford
              • Earl Scruggs
              • Yonder Mountain String Band
              • Trampled By Turtles
              • Foggy Mountain Boys
              • Eric Weissberg
              • Eddie Island
            • Our music catalogue

            What is Bluegrass Music?

            Bluegrass music has a cocktail of influences – an American country and old-time mountain foundation is shaken and stirred with a measure of British folk, a generous helping of blues, a shot of gospel and a dash of jazz.

            The result is a sound that cools the nerves, warms the heart and fires up one’s desire to become one with the moment.

            Where Did Bluegrass Originate?

            Bluegrass originated in the United States’ Appalachian region.

            Initially, the genre was a combination of the sounds brought to America by British settlers and the West African enslaved peoples; thus, it was the European fiddle and the African banjo that originally defined the sound. Later, the guitar, mandolin and bass became vital to the style of music as it grew in popularity.

            During the late 1930s, singer, songwriter and mandolin player Bill Monroe officially introduced the genre in a complete and commercial form. The musician formed the Blue Grass Boys – named after the turf that grows across his home of Kentucky – and once they shared their music, people worldwide fell in love with bluegrass.

            Who Came First in the History of Bluegrass Music?

            There’s no denying that Bill Monroe and the Blue Grass Boys were absolutely pivotal to the genesis of bluegrass music, as the genre is quite literally named after the collective.

            It’s said that the official debut of the fully-formed genre was in 1939 when the band appeared on the Grand Ole Opry to play their bluegrass tracks to the station’s multitudinous listeners.

            What Are the Main Characteristics of Bluegrass Music?

            Different audiophiles have different perspectives on what defines bluegrass music, but there are certain elements that everyone can agree characterise bluegrass. These also set the bluegrass genre apart from the more familiar country genre.

            1. Bluegrass bands solely rely on acoustic instruments, eschewing electric instruments to maintain a pure and wholesome sound.

            2. Bluegrass songs usually contain multi-part vocal harmonies featuring several voices stacked together.

            3. Bluegrass music is usually a lot faster and more upbeat than country music.

            4. Bluegrass music has a folk sensibility that keeps the sounds of traditional British music alive.

            Want to learn a little more about the origins of bluegrass music? Watch this video produced by Hand Productions.

            The 10 Best Bluegrass Musicians

            Bill Monroe

            Not only is Bill Monroe (1911-1996) the founding father of bluegrass, but he’s also recognised as one of the greatest bluegrass musicians to ever exist.

            The singer, songwriter and mandolin player combined breakneck tempos, stacked harmonies and acoustic string solos to create a sound that was unlike anything else on the music scene at the time.

            Alison Krauss & Union Station

            Alison Krauss and Union Station were established in 1987 when Krauss was supported by a bluegrass band composed of Jeff White, Mike Harman and John Pennell.

            Although its members have changed over the years, the band is still going strong – ensuring modern-day audiences still have access to traditional yet contemporary bluegrass music.

            Nickel Creek

            Often dubbed a ‘progressive bluegrass band’, Nickel Creek has always been good at imagining what the future of the music genre looks and sounds like.

            The Southern Californian band is currently made up of three members – Sara Watkins on the fiddle, Sean Watkins on the guitar and Chris Thile on the mandolin – and, as of 2014, has been signed to Nonesuch Records.

            John Hartford

            John Hartford (1937-2001) was an all-rounder in terms of his bluegrass abilities. The New York City-born musician was a master on the fiddle and the banjo and also had an idiosyncratic voice that perfectly lent itself to the genre.

            His most memorable song was undoubtedly ‘Gentle on My Mind’ – a track that led to the singer picking up two accolades at the 10th Annual Grammy Awards.

            Earl Scruggs

            Earl Scruggs (1924-2012) – the man famed for popularising the three-finger banjo-picking style – was just 21 when he was hired to join Bill Monroe’s Blue Grass Boys.

            Just a few years later, Scruggs resigned from the band alongside Lester Flatt, and together they established their own group called Flatt and Scruggs and the Foggy Mountain Boys.

            Yonder Mountain String Band

            Yonder Mountain String Band is a bluegrass group from Nederland, Colorado that has been active ever since 1998.

            Thus far, they have released five studio albums and have even established their own independent record label called Frog Pad Records.

            Trampled By Turtles

            In fewer than two decades, Duluth-based band Trampled By Turtles have released nine albums, three of which have reached the top spot on the US Billboard bluegrass chart, and played at many of the world’s major festivals, including Coachella, Stagecoach and Bonnaroo festival.

            Punch Brothers

            Chris Thile, Gabe Witcher, Noam Pikelny, Chris Eldridge and Paul Kowert make up the Punch Brothers – the bluegrass band signed to Nonsuch Records and was awarded the Grammy Award for the Best Folk Album in 2018.

            Formed in 2006 in NYC, it’s fascinating to see how the Punch Brothers permeate their bluegrass sounds with urban influences.

            Eric Weissberg

            Singer and multi-instrumentalist Eric Weissberg is celebrated as both a solo artist and as part of the American bluegrass group The Tarriers.

            One of the most significant moments in Weissberg’s career is when his banjo solo ‘Dueling Banjos’ was used as the theme of John Boorman’s 1972 thriller Deliverance.

            Eddie Island

            From American Idol to the Audio Network catalogue, Eddie Island has had a whirlwind couple of years.

            The bluegrass vocalist and guitarist was born and raised in Fairfax, Virginia and, after high school, relocated to Nashville, Tennessee to pursue a career in music.

            Our Music Catalogue

            Of course, our catalogue covers a lot more than just bluegrass music. At Audio Network, you can discover albums and playlists of every kind of genre, for every kind of production (including film and television productions, no matter how big or small the budget may be).

            And if you want to learn more about other types of music before you commit to purchasing and licensing one of our tracks, check out The Edit. Split into inspiration, expertise and news the content explores how the industry uses music in everything from ads to films, TV and documentaries.

            Need Music for Your Project?

            At Audio Network we create original music, of the highest quality, for broadcasters, brands, creators, agencies and music fans everywhere. Through clear and simple licensing, we can offer you a huge variety of the best quality music across every conceivable mood and genre. Find out how we can connect you with the perfect collaborator today by clicking the button below!

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            The Best Wildlife Documentaries

            THE BEST WILDLIFE DOCUMENTARIES & THEIR SOUNDTRACKS

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              Nature provides a constant world of wonders, awesome spectacle and species adapting to often challenging environments. But which are the top nature documentaries, and why? We take a look at the best work by the BBC’s legendary Natural History Unit, fascinating campaigning films tackling the climate emergency – and humans’ part in it – and even documentaries that bring extinct animals back to life.

              Plus, as the official sponsor of the Wildscreen Festival, we’ve also highlighted scores and soundtracks, ranging from Philip Glass to Hans Zimmer. The latter revealed the power of music in the best nature documentaries when he spoke to National Geographic recently:

              ‘There is an inherent mystery and element of extraordinary chance in the world of nature. The music mercilessly seduces you into paying attention to what is going on onscreen… We make everything look beautiful, absolutely wonderful, and for a moment you love it all. When really, we should be saying, wake up – we’re destroying it all. And when we destroy it, we will destroy ourselves.’

              Here are the nature docs we’ll be diving into:

              • Life on Earth
              • Planet Earth II
              • An Inconvenient Truth
              • The Blue Planet
              • The Frozen Planet
              • Walking with Dinosaurs
              • Racing Extinction
              • Kiss the Ground
              • Blackfish
              • The Cove
              • Wild China
              • Wild Caribbean
              • Earthshot: Repairing our Planet
              • Attenborough’s Life in Colour
              • March of the Penguins
              • Chris Packham’s Animal Einsteins
              • Natural History Museum: World of Wonder
              • A Perfect Planet
              • Cheetah Family and Me
              • Koyaanisqatsi
              • Forest of the Golden Monkey – China’s Hidden Kingdoms
              • Jane
              • Our Planet
              • Cowspiracy
              • My Octopus Teacher
              • Seaspiracy

              The Best Nature Documentaries

              Life on Earth (1979)

              The OG of nature documentaries was made by the BBC in 1979, and featured David Attenborough travelling the globe, tracing the story of the evolution of life on our planet. This was the show that really established David Attenborough as not only TV’s foremost naturalist, but also an icon of British culture.

              From building replicas of mole rat burrows to spending hundreds of hours waiting for a Darwin’s frog, which incubates its young in its mouth, to finally spit them out, the show pioneered a number of filming techniques to capture often rare, elusive animals.

              The series’ most iconic sequence was when Attenborough interacted with a group of mountain gorillas in Dian Fossey’s sanctuary in Rwanda. He described the encounter in his memoirs as, ‘one of the most exciting encounters of my life.’

              The series’ soundtrack was just as innovative. Composer Edward Williams’ avant-garde score was recorded with a traditional chamber music ensemble, combined with electronic sounds, processed through an early British synthesizer, the EMS VCS 3.

              Planet Earth II (2017)

              For natural history filmmaking at its most riveting, look no further than Planet Earth II’s most celebrated sequence. Baby iguanas have to run the gauntlet across a sandy beach to the safety of the rocks, whilst chased by a cascade of beady-eyed, super-fast racer snakes.

              The desperate chase sequence is so gripping that it’s been watched over 26 million times on YouTube (and it won Virgin TV’s ‘Must See Moment’ awards at the BAFTAs). The final iguana’s near-miraculous escape is soundtracked by blockbuster supremo and Oscar-winner Hans Zimmer, who expertly ramps up the tension.

              When it came to writing the music for it, Zimmer said, ‘Imagine you’re a Hollywood composer, and so you know a lot of Hollywood directors who are all doing their car chases and whatever. Nobody ever had as exciting a chase, as exciting footage, as that. It’s incredibly emotional stuff. All the music is trying to do is shine an additional light onto things. Make it something that gets under your skin.’

              Zimmer has also scored Seven Worlds, One Planet and Blue Planet II for the BBC. This year saw him combine forces with another BBC favourite, George Fenton, to conduct the Earth Prom, a musical celebration of the iconic moments filmed by the BBC’s Natural History Unit, at the Royal Albert Hall, to celebrate the BBC’s centenary.

              An Inconvenient Truth (2006)

              Director Davis Guggenheim eloquently weaves the science of global warming with former Vice President Al Gore’s personal history and lifelong commitment to reversing the effects of global climate change in the nature documentary that kick-started a worldwide discussion of climate change.

              Gore presents a wide array of facts and information in a thoughtful and compelling way - often humorous, frequently emotional, and always fascinating. In the end, An Inconvenient Truth accomplishes what all great films should: it leaves the viewer shaken, involved and inspired.

              Gore and the Intergovernmental Panel on Climate Change (IPCC) was awarded the Nobel Peace Prize for their efforts to obtain and disseminate information about the climate challenge and put it on the political agenda. According to the Nobel Committee at that time, Gore was probably the single individual who had done most to rouse the public and the governments that action had to be taken to meet the climate challenge. ‘He is,’ in the words of the Committee, ‘the great communicator’.

              The Blue Planet (2001)

              ‘Our planet is a blue planet: over 70% of it is covered by the sea. The Pacific Ocean alone covers half the globe. You can fly across it non-stop for twelve hours and still see nothing more than a speck of land. This series will reveal the complete natural history of our ocean planet, from its familiar shores to the mysteries of its deepest seas.’

              The natural history of the world’s oceans is captured in this beautifully-filmed documentary. Yet another ground-breaking series from the BBC, state of the art underwater photography techniques were used to capture previously un-filmed species and their behaviour. From tidal to coral, seasonal to frozen, The Blue Planet revealed the extraordinary wonders and surprises of life underwater.

              The series took almost five years to make, covering nearly 200 filming locations. The camera team spent three years on standby, waiting to film blue whales – they finally caught up with them in the Gulf of California. Whilst in South Africa, the team spent two seasons attempting to film the annual sardine run.

              George Fenton’s gorgeous score, which won a BAFTA for Best Original Music, kick-started the fashion for live orchestral performances of TV scores – The Blue Planet Live! toured the UK from 2006-2008. The show featured some of the most spectacular sequences, displayed on a huge screen, 18 metres wide and three storeys high.

              The Frozen Planet (2011)

              With The Frozen Planet, the BBC revealed the last great wildernesses on the planet – the Polar regions. The seven episodes take the viewer across the frozen lands of the Arctic and the Antarctic to observe the climactic conditions and examine the challenges faced by indigenous wildlife.

              Despite being so seemingly inhospitable, these vast, frigid landscapes are surprisingly rich with life. The Natural History Unit once again captures unimaginable imagery above and below the ice, using cutting-edge camera technology and crystal-clear high-definition cinematography.

              Featuring polar bears, Arctic terns, krill, minke whales and penguins, the series won BAFTAs for Best Sound: Factual, Best Photography: Factual and Best Editing: Factual, together with four Primetime Creative Arts Emmy Awards.

              George Fenton once again composed the musical score and songs, conducting the BBC Concert Orchestra.

              Walking with Dinosaurs (1999)

              If you’re a Jurassic Park fan, then why not watch the ‘real’ thing? Combining fact and informed speculation with computer graphics and animatronics effects that were cutting-edge at the time, the series took two years to make and was a huge hit. It made a distant world as real and natural as images from today’s Serengeti.

              The series begins in the late Triassic period and concludes in the late Cretaceous period, as you watch insectivorous pterosaurs chase moths in the evening air, or bull Torosaurus lock horns over a young female. Tracing the 145-million-year history of dinosaurs, from their first appearances to their abrupt demise, this series marked a watershed in TV imagery.

              The score was composed by Benjamin Bartlett, who has also written for Vera, Stan Lee’s Lucky Man and He Kills Coppers and took home the BAFTA for Best Original Music.

              Racing Extinction (2015)

              As you might expect from the title, this is a documentary exploring the devastating effects of climate change on the world’s oceans. Human activity currently threatens half of the world’s aquatic species with mass extinction.

              Academy Award-winning documentary director Louie Psihoyos (The Cove) joins scientists, environmentalists, activists, artists and engineers to draw attention to the pressing issue of mankind’s role in mass extinction in this sobering eco-thriller. The filmmakers also offer suggestions as to what each of us can do to protect nature, our oceans and the environment for generations to come.

              J. Ralph is an Academy Award-nominated composer, and his score for Racing Extinction also includes the original song ‘One Candle’, recorded with SIA.

              Kiss the Ground (2020)

              ‘The answers we’ve been looking for to fight climate change are right under our feet. Regenerative agriculture is a way to use the planet’s own natural systems to rebalance our climate while meaningfully supporting the farmers and ranchers we all rely on every day’, Filmmakers Josh and Rebecca Tickell

              Narrated by Woody Harrelson, Kiss the Ground sheds light on a ‘new, old approach’ to farming called ‘regenerative agriculture’, which has the potential to balance our climate, replenish our water supplies and feed the world.

              This covers ideas such as reduced tilling, limits on nitrogen fertilisers, use of cover crops and prioritisation of animal and plant diversity. Based on a book of the same name, and directed by award-winning filmmakers Josh and Rebecca Tickell, the film shows how soil health is tied to our planet’s overall heath.

              Blackfish (2013)

              Blackfish tells the story of Tilikum, a notoriously aggressive orca that killed three people while in captivity at SeaWorld in Florida. Director Gabriela Cowperthwaite uses shocking footage and emotional interviews to present a convincing case against keeping these wild animals for human entertainment.

              The Guardian’s Peter Bradshaw praised Blackfish for being, ‘as horribly gripping as a serial-killer thriller, though the real villain is not the ostensible culprit, but its human captors’. He concluded that, ‘we frown on circus animals and we would be horrified by zoos which featured the keepers riding around on lions’ backs or sitting on the shoulders of gorillas. Yet the whale acts are still acceptable. Not for much longer, perhaps.’

              Highly regarded as a jazz instrumentalist, American composer Jeff Beal creates music that often incorporates improvisatory and composed elements. His dramatic soundtrack for Blackfish shows the scope of using a full orchestra to create storytelling tension.

              The Cove (2009)

              Using state-of-the-art equipment, a group of activists, led by renowned dolphin trainer Ric O’Barry, infiltrate a cove near Taijii, Japan to expose both a shocking instance of animal abuse and a serious threat to human health.

              In September every year, over 2,000 small whales and dolphins may be captured or killed in the dolphin drive hunting season. The Cove, directed by Racing Extinction’s Louie Psihoyos, is a provocative mix of investigative journalism and eco-adventure, whose arresting imagery makes this an unforgettable and courageous story, inspiring both outrage and action.

              Wild China (2008)

              The best animal documentaries show you something unexpected and transformative. Billed as ‘the last hidden world’, this ground-breaking six-part series brought never-before-seen images of Chinese wildlife, landscapes and people into our homes. From the world’s highest mountains to steaming forests, grassy plains and rich tropical seas, the programme took more than two years to complete and includes rare footage of some of China’s most remote regions, including the Mongolian steppes and the Yuanyang rice terraces.

              The beautiful score was composed by Barnaby Taylor and performed by Cheng Yu and the UK Chinese Ensemble.

              Wild Caribbean (2007)

              Along with Wild China, Wild Caribbean was part of the BBC Natural History Unit’s ‘Continents’ programmes, surveying the natural history of each of the world’s major land areas.

              The four-part series was narrated by actor Steve Toussaint – now starring as Lord Corlys Velaryon in HBO’s Game of Thrones prequel, House of the Dragon. The series reveals the islands’ hidden wild side, including the mangrove forests of Barbuda’s lagoons, which host the Caribbean’s largest colony of frigate birds, Cuba’s limestone caves and the 20,000 Caribbean flamingos that arrive to breed on the southerly ABC islands’ salt pans.

              The original score was by David Lowe who, fun fact, is also the composer of the iconic BBC News theme, which he originally wrote in 1999.

              Earthshot: Repairing our Planet (2020)

              The Earthshot Prize is awarded to five winners each year for their contributions to environmentalism. The five categories were inspired by the UN Sustainable Development Goals; they are the restoration and protection of nature, air cleanliness, ocean revival, waste-free living, and climate action.

              Launched in 2020 by Prince William and David Attenborough, the Prince gave a TED Talk discussing climate change and encouraged world leaders to take action, to mark the launch of the ten-year project. Prince William and Attenborough both appeared in the accompanying BBC documentary, which detailed the importance of environmental work and discussed the new prize.

              Attenborough’s Life in Colour (2021)

              David Attenborough gets up close and personal with the animal kingdom to bring our colourful world to life through a whole new perspective.

              Find out why tigers are orange, zebras have stripes and flamingos are pink – and technology enables viewers to look beyond our limited, human, perception and see things from the creatures’ own unique visual perspectives.

              March of the Penguins (2005)

              This French feature-length nature documentary, depicting the year-long journey of the Emperor Penguins of Antarctica, was directed and co-written by Luc Jacquet, and co-produced by the National Geographic Society.

              The beautiful documentary chronicles the heroic and harrowing journey that the penguins make, amid subfreezing temperatures and violent snowstorms at the South Pole, in order to mate. Biologist and filmmaker Jacquet had to be almost as determined as his subjects – he spent more than a year filming, in the harshest of conditions.

              Empire hailed it for, ‘producing some of the most beautiful images of the Antarctic ever committed to celluloid’, whilst Alex Wurman’s sprightly soundtrack is a stand-alone pleasure.

              Chris Packham’s Animal Einsteins (2021)

              Get inside the minds of nature’s savviest species with Chris Packham, and prepare to be amazed. Cunning corvids, fast-fingered chimps and the buzz words of bees all show how smart animals have to be to survive. Packham and the BBC team uncover an array of clever strategies across the animal kingdom.

              Natural History Museum: World of Wonder (2021)

              Venture behind the doors of one of the greatest museums in the world, London’s Natural History Museum. Revealing everything from the life story of the 25-metre long skeleton of Hope, the blue whale, to piecing together the skeleton of a T-Rex, you’ll also encounter some of the never-before-displayed items from the museum’s 80 million-strong collection.

              A Perfect Planet (2021)

              Covering volcanoes, the sun, weather, oceans and the human impact on the environment, this is another ambitious earth science series from the BBC. Over 3,000 hours of footage were captured for the series, which spans 31 countries.

              The five-part series shows how the forces of nature, such as ocean currents and solar energy, drive, shape and support Earth’s great diversity of life. In doing so, it reveals how animals are perfectly adapted to whatever their environment throws at them.

              The beautiful orchestral soundtrack was created by award-winning composer Ilan Eshkeri (Stardust, The Young Victoria), who said that, ‘creating the music for A Perfect Planet has been a hugely rewarding experience. The series celebrates the extraordinary world we are a part of, as well as showing the delicate balance of the systems that support life, and what we need to do to ensure its future stability.

              ‘It’s a message that’s very important to me and one that I believe we have a responsibility to engage with – in a way that not only educates but inspires the next generation. This influenced my approach to the music, and set me on an unconventional path… I hope my music can play a small part in helping to inspire change.’

              Cheetah Family and Me (2021)

              Wildlife cameraman Gordon Buchanan embarks on an adventure to get up close and personal with an animal family, following two cheetah mums as they work against all odds to protect and provide food for their gorgeous young cubs.

              Based in the Kalahari, Buchanan experiences at first hand the very real dangers these beautiful big cats face from their harsh environment, dangerous wildlife and dwindling prey, with the help of expert cheetah guides Richard Satekge and Julius Mkhize.

              A subtle soundtrack brings both lightness and drama, according to what the two cheetah families are experiencing.

              Koyaanisqatsi (1982)

              This Hopi word means ‘life out of balance’. Director Godfrey Reggio’s unconventional documentary details the inherent conflict between nature and urbanism. An original score by legendary composer Philip Glass complements the stunning cinematography.

              Featuring extensive footage of natural landscapes and elemental forces, the film gives way to many scenes of modern civilisation and technology. Given its lack of narration and dialogue, the production makes its points solely through imagery and music, with many scenes either slowed down or sped up for dramatic effect.

              Forest of the Golden Monkey – China’s Hidden Kingdoms (2021)

              Meet China’s most affectionate and vocal monkeys in the remote, seasonal forests of Central China. Follow the journey of a baby Golden snub-nosed monkey during the first year of her life as she learns all about her forest home and battles the elements to survive, in National Geographic’s stunning documentary.

              Jane (2017)

              National Geographic began producing documentaries in 1965, featuring the work of Jane Goodall, Jacques Cousteau and Dian Fossey.

              They returned to the work of Jane Goodall in 2017, drawing on over 100 hours of never-before-seen footage tucked away in the National Geographic archives for over 50 years. Award-winning director Brett Morgen (Montage of Heck, The Kid Stays in the Picture) tells the story of the extraordinary woman whose chimpanzee research challenged the male-dominated scientific consensus of her time.

              The story of the trailblazer who defied the odds to become one of the world’s most admired conservationists is soundtracked by a rich orchestral score from legendary composer Philip Glass. The Hollywood Reporter had particular praise for Glass’s music and the part it plays in the documentary: ‘Set to an almost overwhelmingly emotional original score by Philip Glass, this is a wondrous and moving account of a remarkable life, that puts us right there with Goodall.’

              The Best Nature Documentaries on Netflix

              Our Planet (2019)

              Netflix’s ambitious first nature documentary enables viewers to experience our planet’s natural beauty and examines how climate change and humans impacts all living creatures.

              The series’ spectacular scope was overseen by Alastair Fothergill and Keith Scholey, the producers behind world-famous nature documentaries Planet Earth, Frozen Planet and The Blue Planet.

              From frozen worlds to jungles, coastal seas to deserts and grasslands, forests to fresh water, Bryan Resnick of Vox praised the series for its take: ‘Humans have caused staggering amounts of wildlife loss. Our Planet doesn’t hide from it’.

              Specially commissioned orchestral music by Stephen Price was accompanied by theme song ‘In This Together’ by Ellie Goulding.

              Cowspiracy: The Sustainability Secret (2014)

              Billed as, ‘the film that environmental organisations don’t want you to see!’, Cowspiracy was described by director Darren Aronofsky (Black Swan) as, ‘a documentary that will rock and inspire the environmental movement’ and is definitely a conversation-starter.

              The film follows intrepid filmmaker Kip Andersen as he uncovers the most destructive industry facing the planet today: animal agriculture. As eye-opening as Blackfish, and as inspiring as An Inconvenient Truth, this is a shocking, yet humorous documentary, which reveals the devastating environmental impact of large-scale factory farming.

              My Octopus Teacher (2020)

              ‘What Charlotte’s Web did in the popular imagination for the humble, much-maligned barn spider, My Octopus Teacher sets out to achieve for the eight-limbed mollusc of its title — a creature of great, shimmery beauty and mystery regarded by many with more bemusement than affection.’ Variety.com

              My Octopus Teacher took home the Oscar for the Best Documentary Feature in 2021. Filmmaker Craig Foster forges an unusual friendship with an octopus living in a South African kelp forest, learning as the animal shares the mysteries of her world.

              Every day for a year, Foster went free diving, wanting to be ‘more like an amphibious animal’, without barriers between himself and the environment. The spellbinding film, as well as revealing the hidden depths of octopus’ behaviour and intelligence, also showcased the world of the kelp forests, which make up roughly 25% of global coastlines.

              The soundtrack is by Kevin Smuts, who took home the award for best score at the International Documentary Awards.

              Seaspiracy (2021)

              Passionate about ocean life, British filmmaker Ali Tabrizi sets out to document the harm that humans do to marine species — and uncovers alarming global corruption. Seaspiracy examines the global fishing industry and shows how human actions cause widespread environmental destruction.

              Fishing has wiped out 90% of the world’s large fish and is the greatest threat to marine wildlife. An astonishing 30,000 sharks are killed every hour, whilst 70% of macro plastic at sea comes from fishing gear. Plus, there’s a human cost, with 24,000 fisheries workers dying on the job every year and widespread forced labour reported in 47 countries.

              It’s another bold, eye-opening documentary from Netflix that changed many people’s ideas on the ‘sustainability’ of fishing.

              Wildscreen Festival 2022

              As you can see, whether you want to be awed by its power, or inspired to make changes in order to conserve wildlife and ecosystems, there’s a nature documentary for you. Nature docs are one of our favourite genres – so much so that we’re very proud to be the official Music Partner of Wildscreen Festival 2022. Wildscreen celebrates the very best in natural world storytelling, and is taking place from October 10th-14th.

              For more on TV, films and ads check out the Edit, our expertise and inspiration-packed blog.

              WILDSCREEN FESTIVAL 2022

              Soundtracking Nature

              Looking for inspiration for your nature documentary score? We have a wealth of fantastic tracks for you to license, including:

              • ‘Beautiful Life’ by Patrick Hawes combines joyful piano with busy, nostalgic strings, ideal for a positive, slightly quirky sequence.
              • Kes Loy’s ‘As I Go Higher’ is a thoughtful picked acoustic guitar track, perfect for a section full of warmth and optimism.
              • If you’re looking for ‘Active Optimism’, then choose Mark Petrie’s track, with uplifting, warm synths, strings and a melodic piano build. It’s also got a triumphant ending, making it great for a ‘journey’-type section.
              • If there’s another Walking with Dinosaurs doc, then may we suggest including ‘March of the Mammoth’? Emotional strings blend with battle drums and a haunting vocal chant.
              • ‘Peek a Boo’ is giving us cheeky monkey vibes, or inquisitive young animals exploring and getting into trouble with its jaunty, mischievous pizzicato strings, xylophone and clarinet.
              • For dreamy aerial, or underwater shots, Luke Richards’ aptly-titled ‘Electricity in the Air’ features hypnotic, floaty piano arpeggios, with light pulsing synths and atmospheric textures.
              • Any Aussie nature doc can take Alies Sluiter’s ‘Edible Emus’ as its musical starting point. Full of didgeridoo and pizzicato strings, it’s also got animal noise effects to fully seal the deal.
              • If you’ve got a quieter interlude to score, then why not give Matt Nasir’s ‘Not a Care in the World’ a listen? Its serene piano and strings are laid over a light female vocal bed.
              • Or for something a bit darker, try ‘Heart of the Storm’ – its slow, moody soundscape features a drone and clarinet, which remind us of deep space, or alien-looking life forms miles down in the ocean.
              • If you loved Frozen Planet, then ‘Arctic Blue’ will transport you back to the icy landscapes, courtesy of its wistful piano and harp.

              Or do some globe-trotting with our world documentary series playlist, our hand-picked seasonal playlists, such as Spring, or discover our wide-ranging, cross-genre playlists and latest albums, which are updated every fortnight.

              Need Music for Your Project?

              At Audio Network we create original music, of the highest quality, for broadcasters, brands, creators, agencies and music fans everywhere. Through clear and simple licensing, we can offer you a huge variety of the best quality music across every conceivable mood and genre. Find out how we can connect you with the perfect collaborator today by clicking the button below!

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              THE BEST WILDLIFE DOCUMENTARIES & THEIR SOUNDTRACKS Read More »

              MUSIC FOR BRANDS

              SELECTING THE RIGHT MUSIC FOR YOUR BRAND

              Leave a Comment / MUSIC /
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                In today’s 24/7 world of TikTok, Instagram, Twitter, blockbuster movie marketing, radio and TV ads, YouTube and influencers, it’s increasingly challenging for brands to cut through the, as one industry expert put it, ‘growing ad clutter’. This leads to reduced impact and increased resistance from consumers.

                So, how do you get your brand to stand out? One way is by aligning a brand message with the right soundtrack. It’s vitally important to select the appropriate tracks to enhance your brand identity and create a strong emotional connection. We’ll look at music’s impact on brand perception, and give you practical guidance, tips, and best practices for choosing music for your brand.

                The Science of Soundtracks – Why Music Is Important

                In the early 1990s, The Association for Consumer Research conducted a study on the impact of music in ads on TV. They found that it improved effectiveness in ways including:

                • Higher purchase intent
                • Improved attitude towards the brand and the ad itself
                • Enhanced consumer persuasion and ad recall
                • Increased preference for the advertised product
                • Improved mental image memory of the product

                All of these elements are key when it comes to brand-building.

                branding

                Photo Credit: www.nielsen.com

                Neuroscientists have analysed the brain mechanisms related to memory, finding that words set to music are the easiest to remember. This is because music memory is stored in a few different parts of the brain.

                Given the fact that on average, it takes eight touchpoints with your brand for a prospect to become a lead with online advertising, the ability of music to increase ad recall, mood enhancement and the likelihood of purchasing makes it a vital element.

                But what music should you choose to represent your brand and create a memorable brand experience? First, you need to establish some key elements: brand identity and values, and your core customer and what drives them.

                Need a hand? Audio Network are experts in creating music made for sync and soundtrack selection for branding including LEGO, Netflix and Nike.

                Understanding Your Brand Identity & Values

                How do you define and understand your brand’s identity and values? These are the first things you need to get right when you’re creating a brand – they form a guiding light for your journey.

                Your brand values are a core set of beliefs that your business holds closest to its heart and define both your employee experience and your customer’s.

                Examples of brand values could include:

                • Integrity – making ethical, transparent and well-intentioned decisions
                • Innovation – prioritising new, progressive ideas
                • Honesty – being upfront with information
                • Trust – nurturing positive relationships

                Whatever you decide your core values are, be specific – corporate jargon is confusing – and address both internal and external goals. Think about what sets your organisation apart from others, and concentrate on bringing those aspects to light to attract the right customers and employees.

                Google, for example, has ‘ten things we know to be true’ as their set of corporate values:

                1. Focus on the user and all else will follow
                2. It’s best to do one thing really, really well
                3. Fast is better than slow
                4. Democracy on the web works
                5. You don’t need to be at your desk to need an answer
                6. You can make money without doing evil
                7. There’s always more information out there
                8. The need for information crosses all borders
                9. You can be serious without a suit
                10. Great just isn’t good enough

                Nike is one of the world’s biggest brands, valued at over $50 billion – the most valuable sports brand in the business, according to Interbrand.

                Its core values revolve around:

                1. Groundbreaking innovation
                2. Sustainability
                3. Social impact
                4. Diversity

                With a mission statement, ‘to bring inspiration and innovation to every athlete in the world’, this ethos, ‘is what drives us to do everything possible to expand human potential. We do that by creating groundbreaking sport innovations, by making our products more sustainably, by building a creative and diverse global team and by making a positive impact in communities where we live and work.’

                Find out how Nike has used music to create brand alignment in their ads through the decades.

                Brand Personality & Target Audience

                Once you’ve nailed down your values, it’s crucial to have a clear understanding of the brand’s personality, target audience, and desired emotional response. Who are your ideal customers? What’s their demographic?

                If you have a core age group in mind – for example Gen Z, Millennials, Gen X, etc., then there is a wealth of information and statistics available as to how they behave, where they find their information from, what influences them when buying products or services – from online influencers to reviews and peer recommendations – and what defines their preferences, behaviours and motivations. Once you have this information to hand – and bear in mind that platforms such as TikTok can emerge and change the face of a demographic’s behaviour and engagement almost overnight – you can start to put the brand pieces together.

                Establishing your brand’s core values and personality will also help with everything from your ‘brand bible’ (i.e. the set of brand guidelines) – bringing in visuals, such as logos and colour palettes and fonts – and the language you use, from your tagline to your website, social media and advertising.

                How you communicate these defining attributes and emotions through visual, verbal and sensory cues – including music – will all reinforce your core message and mood.

                People accompany their lives with different soundtracks – either intentionally or unintentionally, from their Spotify lists to their favourite movies. Certain songs become ingrained in our experiences, contributing to the memories we develop, either positive or negative.

                In terms of music branding tips, if you’ve got a fun, energetic, youth-oriented brand, go for upbeat music that reflects what’s topping the streaming charts – whether that’s pop (still the most popular worldwide), reggaeton or hip hop/R&B, which dominates the US market. Tap into what your audience is listening to right now, as Valentino did with their ‘Rendez Vous’ promo, starring Zendaya, with a soundtrack of ‘Crystalised’ by The xx:

                However, if your brand is more sophisticated or premium, you might opt for orchestral, jazz or ambient music. Brands which want to inspire a feeling of trust in their customers – such as banking or financial services – often use classical music; the fact it’s been popular for centuries makes it both familiar and gives it an enduring feel. Even if there are financial ups and downs, this music suggests that your bank, pension or insurance provider will see you through – they endure as the music has.

                Crafting Emotional Connections Through Music

                As everyone knows from movie and TV soundtracks, music has the power to evoke emotions and create connections with the audience. From blockbuster superhero trailer music to generate awe and excitement, to action thrillers with pumping drums and guitar riffs full of drive, sci-fi with the kind of out-of-this-world sounds that Hans Zimmer specialises in and quirky comedies, music can both guide and enhance a viewer’s emotion.

                Fast-paced tracks take you to the edge of your seat; slower pieces with plenty of piano or melodic strings are more relaxing or romantic.

                So, what emotional responses do you want your core audience to experience? Tailor your tempo, instrumentation and genre accordingly.

                For example, look at how a brand like IKEA uses different types of music, according to the emotions it wants you to feel, in their Wonderful Everyday ads.

                The cinematic soundtrack for ‘The Troll’, for example, moves from an uneasy, ominous feel for the set up (we’re supposed to find the Troll living under the bridge threatening), to a much lighter, increasingly magical theme, with bright woodwind as the small boy helps him to make his dingy dwelling a home by adding IKEA pieces:

                Their Christmas ad, ‘Silence the Critics’, used rap diss track ‘Fresh ‘n’ Clean (Silence the Critics)’ by D Double E for a blend of comedy and threat, reflecting the family’s anxieties about hosting in their flat – solved through getting some IKEA items to freshen up its look.

                Christmas ads are the most obvious master-manipulators when it comes to using music to create an emotional response – you only need to think of John Lewis’ wistful, slowed-down covers of iconic hits to feel a bit misty-eyed. The visual storytelling is brilliant, but it’s the combination of that and their brand messaging through music that’s created a viral sensation nearly every year. And the media has latched onto the idea that the launch of the brand’s festive campaign heralds the start of Christmas – not to mention that the featured tracks are also huge download successes.

                Christmas 2022’s ad didn’t even really sell you any John Lewis products – ‘The Beginner’ used ‘All the Small Things’ to underline the fact that the ad was basically about empathy, with a man trying to learn to skateboard so that he’d have a way to connect with his foster-daughter.

                These two contrasting examples show that you don’t have to use classic Christmas music to tell your story. Meaning that you don’t necessarily need to go the obvious route when it comes to telling your brand story through music, either.

                Enhancing Brand Storytelling - Selecting the Right Music for Your Brand

                For a greater understanding of the hold that successful brands have over us, watch this fascinating explainer on how Apple and Nike have crafted their individual images and stories:

                Given how important it’s proven that music is, in terms of brand recall and creating emotion, it’s obviously not enough to randomly choose any old royalty-free background music for brand storytelling.

                If you’ve got the budget, you could commission an original song, as Oreo did with ‘Wonderfilled’. Performed by Owl City, the anthem stars classic baddies such as the Big Bad Wolf and a vampire:

                The catchy song is upbeat and quirky – matched with cute animations, it kick-started a whole series of ads, positioning the brand as a fun treat that could… potentially change the world?!

                Subsequent spots featured freestyle rapper Chiddybang and singer/songwriter Kacey Musgraves, with lyrics and animation styles changing with each execution. Touching on themes from heartbreak to high school life, this is how to expertly use a track to cement brand identity and recognition.

                Choosing the Perfect Brand Soundtrack

                Of course, when it comes to music and brand identity, there’s always the ‘sonic logo’ – such as McDonald’s ‘I’m Lovin’ It’ signature, or Intel’s three-second, five-note sound logo, which it’s estimated is played somewhere in the world every five minutes.

                Just a few seconds long, if done right, the sonic logo is strong enough to stand in place of the brand’s name and helps to literally cut through the noise being made by everyone else.

                However, Uli Reese from sonic branding agency Amp advises that putting all your eggs in that particular basket is a risk: ‘The anatomy of our brains is not wired to understand sound and noise. It’s wired to recall music – we’re born Mozarts.’

                Why not compare and contrast what competitor brands are doing with music, to see how you could choose the music to fit your brand?

                For starters, take a look at Uber Eats. Their ‘Do Less’ ads are both quirky and retro, with a 60s/70s feel and each soundtrack matches the ‘hero character’:

                 

                Ordering takeaway food is something that everyone does nearly daily now; so how do Uber Eats stand out? They’ve positioned themselves with stories and music that are out of the ordinary, and a bit left-field. There’s no particular emphasis on what kind of food you can order, just on the brand message of, ‘embrace the art of doing less.’ If you’re an Uber Eats customer, the subliminal messaging is telling you you’re an individual, you’re stylish, you don’t follow the herd.

                This Deliveroo ad has a similar set up, with a guy dancing, but it’s in an empty space, and the emphasis is on how excited he is that his food has arrived, as it starts with the doorbell, rather than finishing with it.

                Just Eat went with the Oreo approach of a unique song for their Katy Perry ad – and created a whole world to go with it. It used their ‘Did somebody say Just Eat?’ jingle, and the song showcased all the different cuisines and drinks you can score from the home delivery service.

                The lyrics reinforce the brand’s key message – that you can get anything you want to eat or drink at any time delivered right to your door – and the mood is upbeat but chilled, quirky and fun.

                Or, sticking with the food theme, you can use music to drive your whole story. In one of 2023’s best ads, ‘Raise Your Arches’, McDonald’s used Yello’s classic 80s track ‘Oh Yeah’, directed by Edgar Wright of Baby Driver and Shaun of the Dead fame. The mass lunchtime office exodus is expertly choreographed to the track, as are its beat-matched raised eyebrows.

                This track drives the narrative – when you’re choosing a track for your brand, do you want to foreground the music, or have something that’s more of a background element?

                If you want a retro or a nostalgic feel, then work out which decade you’re aiming for, and choose accordingly; you might want a well-known track for instant recognition, or something a bit more obscure for a less mainstream brand.

                Navigating Copyright & Licensing Considerations

                When you’re looking for unique music for your brand, you need to keep copyright considerations front of mind. It’s easy to fall foul of licensing on platforms such as YouTube (which can take down your channel if you’re found to be flouting the rules.)

                Here’s a quick explainer on the basics of copyright music:

                • The copyright holder of a music piece – often called the ‘author’ – is the person who created the song. Usually, this is a composer or a lyricist
                • The author possesses the right to ensure others are not reproducing, distributing, utilising, performing or playing the song in public without their permission
                • Regardless of the genre, the author automatically gains copyright protection when they create a musical composition
                • A musical piece is protected under copyright law for the author’s entire lifetime, plus 70 years. After this, the music becomes part of the public domain

                If you’re hoping to use a piece of music that’s protected by copyright for your brand, you must first obtain a licence from those who wrote and recorded the song. More often than not, you can find the contact information for these individuals on ASCAP, SESAC and/or BMI.

                Licensing popular tracks can be expensive, so if your brand doesn’t have a big budget for music, then look to a reputable music licensing platform like Audio Network. Thousands of original, high-quality tracks are at your fingertips, with all the licensing pre-cleared for global use.

                Making the whole process far more straightforward, you can license either a single track or get a tailored subscription if you’re looking for several tracks to form an audio ‘brand suite’. There’s a huge range of search functions, together with hand-picked themed playlists covering every mood and genre, making life even easier.

                Using pre-cleared music ensures that you’re adhering to all compliance rules and avoiding any potential legal issues. Find out more about licensing by reading our FAQs.

                How to Align Your Brand Message With the Right Soundtrack

                As you can see, when you’re creating a cohesive brand experience with music, you need to focus on: soundtrack alignment with brand values; music selection for effective storytelling; and maximizing brand impact through music integration.

                Bringing together your message with the right soundtrack can be transformative. Audio Network’s original, high-quality music is a trusted source by brands worldwide when they’re looking for that perfect track. Explore hundreds of thousands of tracks to get you started.

                Need Music for Your Project?

                At Audio Network we create original music, of the highest quality, for broadcasters, brands, creators, agencies and music fans everywhere. Through clear and simple licensing, we can offer you a huge variety of the best quality music across every conceivable mood and genre. Find out how we can connect you with the perfect collaborator today by clicking the button below!

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                This page was updated 28/05/2024 and 27/06/2024.

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                how classical music can enhance your project

                HOW CLASSICAL MUSIC CAN ENHANCE YOUR PROJECT

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                  The Apocalypse Now helicopter attack. The Apprentice’s theme tune. The Hovis ad directed by Sir Ridley Scott. When you think of your favourite films, TV shows and ads, we’re willing to bet that a high proportion of them feature classical music on their soundtracks. Moving pictures and classical music go together like, well, bread and butter. But why?

                  Dive in as we explore some of the inspiring ways in which creatives use classical music in media projects, from the small screen to IMAX, to captivate audiences and produce iconic moments, bring the drama and heighten our emotions.

                  Setting the Mood

                  Did you know that not only can Beethoven, Vivaldi or Mozart’s musical stylings transport you to a different time and place, but they can also boost memory and aid relaxation?

                  Classical music’s calming effect releases dopamine to spike pleasure – which also prevents the release of stress hormones, improving your mood. A 2018 study on the effects of different types of music on patients’ pre-operative anxiety shows that classical music can cause the heart rate and breathing to slow and also decreases emotional distress.

                  So, there are proven technical reasons for using classical music in film, TV and ads, if you’re looking to score something designed to have a calming effect on your audience.

                  However, classical music has also been used throughout cinematic history to suggest the darker side; you only have to think of Hannibal Lecter (played by Anthony Hopkins) pursuing his grisly pleasures accompanied by Bach’s ‘Goldberg Variations’, or the ultra-violence in Stanley Kubrick’s A Clockwork Orange against the backdrop of Beethoven’s ‘Ode to Joy’.


                  In Philadelphia, ‘La Mamma Morta’, a rapturous aria, signified heroism, whilst The Pianist used Chopin’s Nocturne No. 20 and Ballade No. 1 to show the personal effect of classical music in the story of a Polish Jewish musician struggling to survive the destruction of the Warsaw ghetto in World War II.

                  A full orchestra can be a fantastic shortcut to bringing on a rush of emotions – especially if it’s an epic piece that really builds, such as the ‘Lacrimosa’ from Mozart’s Requiem, which is used underneath the tragic sequence where the composer is buried in a pauper’s grave in the rain in Amadeus.

                  Camera angles, lighting, costume, sets and dialogue can create whole universes of emotion and atmosphere, but classical music can either get your audience there faster, or intensify suspense, romance, action or horror.

                  This explainer demonstrates how a classical music staple, the Dies Irae, or ‘Day of Wrath’ has been used for decades in movie soundtracks to generate a sense of dread:


                  When it’s been used everywhere from Star Wars to The Lion King, The Fellowship of the Ring to Game of Thrones and The Good Place, classical music’s effectiveness when it comes to creating a mood is clear.

                  Emotional Impact

                  Classical music can have a profound emotional impact and resonate deeply with viewers. Whether major (happy) or minor (sad), full of harmonies and dynamic shifts or intricate melodies, there’s a classical piece to fit whatever mood a director wants to make you feel.

                  A complex piece is often associated with feelings such as awe, astonishment or terror. Its musical elements may involve intense conflict or turbulence, or alternatively conjure up transcendence or otherworldliness.

                  Schubert’s String Quartet No. 13 was used in Avengers Assemble, for example, to bring in ominous undertones as the otherworldly Loki creeps into a Stuttgart museum – and as his attack begins, the quartet explodes into action.

                  Many directors also use classical music to create jarring juxtapositions and unnerving emotional responses – Kubrick’s A Clockwork Orange being perhaps the most obvious. Any kind of dissonance between music and action has the power to make the scene more poignant, emotional or terrifying.

                  Plus, of course, classical music can be used to create both emotion and a plot point – as in Pretty Woman, when Richard Gere’s character, Edward, takes Vivian (Julia Roberts) to the opera – La Traviata - whose plot mimics her own.

                  Classical Music in Films

                  By the 19th century, it was common to have incidental music for stage plays, such as Schubert’s Rosamunde, Mendelssohn’s Midsummer Night’s Dream and Grieg’s music for Ibsen’s Peer Gynt.

                  So it was inevitable that when silent films began to appear, they’d be accompanied by specially-composed music. Not only did it help to set the mood of a scene and punctuate important moments, but it served the practical purpose of masking the noise of the projector…

                  The first score specifically written for a film was by Camille Saint-Saens in 1908 (L’assassinat du Duc de Guise), a historical drama. Erik Satie was the first to devise a method of synchronising his music to create a frame-by-frame film score in 1924.

                  Obviously, both cinema and soundtracks have evolved hugely during the following century, and classical music has always played an influential role in filmmaking.

                  Classical compositions have been skillfully incorporated into films to enhance the narrative, evoke emotions and create some truly unforgettable cinematic moments, leaving a lasting impression on audiences.

                  The Shawshank Redemption

                  In one of the most memorable scenes from The Shawshank Redemption, Mozart is used as a demonstration of rebellion and freedom. Prisoner Andy Dufresne (Tim Robbins) locks himself in the warden’s office and plays ‘The Marriage of Figaro’ throughout the whole prison, bringing everyone to a standstill.


                  Morgan Freeman’s Red, in a voiceover, encapsulates the emotion they feel because of this unexpected beauty: ‘I have no idea to this day what those two Italian ladies were singing about. Truth is, I don’t want to know. Some things are best left unsaid. I like to think they were singing about something so beautiful it can’t be expressed in words and it makes your heart ache because of it… For the briefest of moments, every last man in Shawshank felt free.’

                  The Mozart piece gives the scene a timeless quality – and it’s one of the composer’s most-used in movies and TV. Willy Wonka played the opening to it to unlock his famous chocolate factory doors; King George VI (Colin Firth) is challenged to recite Hamlet whilst listening to the famous overture so loudly that he can’t hear his own stammer in The King’s Speech:

                  Demonstrating classical music’s endless versatility, the overture’s been used in comedy – Wedding Crashers, Runaway Bride and Trading Places – and in Zombieland, the music swells as survivors of a zombie apocalypse smash up the contents of a grocery shop.

                  Classical Music in TV Shows

                  Bridgerton

                  Of course, there are series where you’d expect to hear classical music, but where it’s been used to subvert our expectations. Netflix’s global smashes Bridgerton and Queen Charlotte are set in the Regency period. Yes, there’s a cinematic, period-appropriate orchestral score by Kris Bowers, but for many of the romantic ball scenes, as Netflix cheekily tweeted, ‘you’re gonna hear a few ye olde bops’. Ie, string versions of classic pop tracks such as Ariana Grande’s ‘Thank U, Next’, Nirvana’s ‘Stay Away’, ‘Wildest Dreams’ by Taylor Swift, Billie Eilish’s ‘Bad Guy’ and Madonna’s ‘Material Girl’.


                  The Bridgerton universe’s playful use of music performed by the Vitamin String Quartet and Duomo shows the potential impact of classical music in TV shows: music supervisors can use it to introduce new, young fans to the genre in innovative ways.

                  Classical Music in Advertisements

                  Alton Towers

                  Theme park Alton Towers have adopted Grieg’s ‘In the Hall of the Mountain King’ from Peer Gynt as their theme tune and have used it in a variety of ways in their ads; it’s also used around the park itself. The piece starts off relatively slow and low, with a sinister edge, mirroring the feel of a rollercoaster’s upward trajectory. The building speed, with its hectic pizzicato, bringing parts of the orchestra with it like a tornado, is particularly suited to rollercoasters’ highs, lows and loops. Plus, it ends with a satisfying bang which is great for punctuating an ad.

                  Alton Towers’ ‘Smiler’, showcasing the world’s first 14-loop rollercoaster, used the track to great effect:


                  Alton Towers also uses it as a subtle backdrop for its more general branded ads, demonstrating the versatility of a great piece of classical music.

                  Classical Music in Cartoons

                  Spongebob Squarepants

                  Spongebob Squarepants combines contemporary themes, with surrealist characters and settings and old-fashioned cartoon humour. In the ‘Jellyfishing Plankton’ episode, Patrick takes a damaged Squidward out “jellyfishing” for the day. Spongebob sings along to Johann Strauss II’s ‘Blue Danube Waltz’; the romantic classical piece is whimsical and amusing, inviting you to join the eccentric characters.

                  Find Classical Music for Your Project

                  So, you can see how much classical music can enhance your project, adding depth, emotion, and resonance to films, TV and commercials, making them more impactful and memorable.

                  Looking for classical music? Audio Network is home to a huge catalogue of the very best for you to license. Our Classical Collection, arranged and recorded by world-class musicians at the legendary Abbey Road Studios and focusing on the kind of production values found in contemporary film scores, is the ultimate resource.

                  From delicate chamber orchestras to the romantic and tragic, dramatic and passionate to humorous, you’ll find the perfect classical piece for any project, saving you tons of time when it comes to music selection.

                  Need Music for Your Project?

                  At Audio Network we create original music, of the highest quality, for broadcasters, brands, creators, agencies and music fans everywhere. Through clear and simple licensing, we can offer you a huge variety of the best quality music across every conceivable mood and genre. Find out how we can connect you with the perfect collaborator today by clicking the button below!

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                  uk music festivals

                  YOUR GUIDE TO UK MUSIC FESTIVALS 2023

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                    After a couple of fallow years due to COVID, UK festival season finally got back into full swing in 2022, giving all of us music-starved punters something to celebrate. Judging by the line-ups already announced, this summer is set to be even better, with all the biggest and best UK festivals pulling out the big guns for 2023.

                    From heritage acts to exciting up-and-comers, summer festivals this year are making up for lost time, meaning tickets are selling out fast. So whether you’re working out which electronic festival to attend, or wondering, just where is Glastonbury 2023, you’ll find all the info you need in this guide to UK festivals coming up in 2023.

                    June

                    Glastonbury

                    When: 21-25th June

                    Where: Pilton, Somerset

                    Headliners: Arctic Monkeys, Guns N’ Roses, Elton John

                    Our tips: Lil Nas X, Lana Del Rey, Weyes Blood

                    More info

                    Unquestionably the hottest ticket of the summer, this year’s Glastonbury Festival sold out in just 61 minutes. If you’re lucky enough to have bagged a pass, you can expect to enjoy Elton John’s farewell tour, a show from heavy metal legends Guns N’ Roses and the UK’s uppermost indie outfit Arctic Monkeys. And if you narrowly missed out on tickets? Well, you can just enjoy the BBC’s exhaustive TV coverage instead.

                    July

                    Wireless Festival

                    When: 7-9th July

                    Where: Finsbury Park, London

                    Headliners: Playboi Carti, Travis Scott, D-Block Europe

                    Our tips: Ice Spice, GloRilla, Lil Yachty

                    More info

                    After 2022’s multi-site triple-header, you’re well within your rights to wonder ‘just where is Wireless Festival 2023?’ The answer, of course, is Finsbury Park. Playing host to Travis Scott, Playboi Carti and viral rapper du jour Ice Spice, Wireless is arguably one of the UK’s biggest hip hop festivals. A hot ticket for anyone into rap, R&B and Afrobeats.

                    TRNSMT

                    When: 7-9th July

                    Where: Glasgow Green

                    Headliners: Pulp, Sam Fender, The 1975

                    Our tips: Cat Burns, Cloth, Aitch

                    More info

                    Usurping the dearly missed T in the Park as Scotland’s foremost music festival, TRSNMT has been running since 2017 on Glasgow Green. Indie-rock fans can get their fix via headliners Pulp, Sam Fender and The 1975, but there’s plenty more to discover further down the bill, including hip hop from Aitch, alt-pop from Ashnikko and house hits from double BRIT-winner Becky Hill.

                    Askern Music Festival

                    When: 8th July

                    Where: Thornhurst Manor, Doncaster

                    Headliners: Razorlight, John Power

                    More info

                    Askern are holding back the years with their 2023 line-up, which features former Inspiral Carpets-man Tom Hingley, Razorlight and Britpop survivors Space.

                    Parklife Festival

                    When: 10-11th July

                    Where: Heaton Park, Manchester

                    Headliners: The 1975, Aitch, Fred Again..

                    Our tips: Overmono, Little Simz, Nia Archives

                    More info

                    When it comes to line-ups, the people behind Parklife Festival never miss. Once more, there are plenty of thrills to be had at Heaton Park, with everyone’s fave producer/aristocrat Fred Again.. sharing top billing with local heroes The 1975 and Aitch. There’s an embarrassment of riches lower down the bill too, including Mercury Prize-winner Little Simz, recent BRIT-nominee Nia Archives and techno duo Overmono.

                    Kew The Music 2023

                    When: 11-16th July

                    Where: Royal Botanic Gardens, Kew

                    Headliners: Bastille, Jack Savoretti, The Human League, Jools Holland and his Rhythm & Blues Orchestra

                    More info

                    Forget water-logged stages, soggy noodles and dodgy portaloos – Kew The Music are doing their bit to elevate the British festival experience for less intrepid festival goers. Staged in the bucolic surrounds of Kew’s Royal Botanic Gardens, this year’s concert series features Bastille, Jack Savoretti and Jools Holland and his Rhythm & Blues Orchestra. Ideal for taking the in-laws to.

                    Kaleidoscope Festival

                    When: 15th July

                    Where: Alexandra Palace, London

                    Headliners: Hot Chip, George FitzGerald, Gaz Coombes

                    Our tips: Erol Alkan, Girls of the Internet

                    More info

                    There are few lovelier spots in London than Ally Pally, but it’s not just the views that make Kaleidoscope Festival worth attending. Alongside music from Hot Chip, George Fitzgerald and Gaz Coombes, you can look forward to live comedy from Joe Lycett, Maisie Adam and Nina Conti, plus lots of family-friendly activities.

                    Latitude

                    When: 20th-23rd July

                    Where: Henham Park, Suffolk

                    Headliners: Pulp, Paolo Nutini, George Ezra, The Kooks

                    Our tips: Siouxsie, Caity Baser, Young Fathers

                    More info

                    A lakeside setting! Pink sheep! Siouxsie Sioux’s first live show in a decade! Yes, Latitude has it all, plus added Pulp, Paolo Nutini and George Ezra. And with Romesh Ranganathan, Fern Brady and Sara Pascoe all booked, you’d be hard-pressed to find a better comedy bill this summer too.

                    Standon Calling

                    When: 20th-23rd July

                    Where: Standon, Hertfordshire

                    Headliners: Years & Years, Self Esteem, Bloc Party, The Human League

                    Our tips: Squid, Shygirl, Katy B

                    More info

                    What began as a birthday barbecue for founder Alex Trenchard back in 2001 is now one of the highlights of UK festival season. Set in the surrounds of rural Hertfordshire, this year’s line-up features Years & Years and the all-conquering Self Esteem.

                    Camp Bestival

                    When: 27-30th July

                    Where: Lulworth Castle, Dorset

                    Headliners: Grace Jones, Craig David, The Kooks

                    Our tips: Sophie Ellis-Bextor, Roni Size, Sam Ryder

                    More info

                    Your go-to festival for school holiday fun, Camp Bestival combines huge pop acts with big name entertainment for kids. So while mum and dad enjoy getting down to ‘Pull Up To The Bumper’, the little ones can take part in cosmic yoga, drag king story time or watch a set from CBeebies megastar Mr Tumble.

                    August

                    Green Man Festival

                    When: 17-20th August

                    Where: Brecon Beacons, Wales

                    Headliners: First Aid Kit, Devo, Spiritualized

                    Our tips: Lankum, Jockstrap, Special Interest

                    More info

                    No list of the top festivals in the UK would be complete without Green Man. Arguably one of the summer’s annual highlights, this three-day celebration takes place in the picturesque surrounds of the Brecon Beacons and always features an incredible musical offering. 2023 is no exception, featuring a UK festival exclusive from new wave pioneers Devo, as part of their farewell tour.

                    All Points East

                    When: 18-25th August

                    Where: Victoria Park, London

                    Headliners: Stormzy, The Strokes, Jungle, Haim, Dermot Kennedy

                    Our tips: Yeah Yeah Yeahs, Tove Lo, Erykah Badu

                    More info

                    There’s something for everyone in this year’s All Points East line-up. Love hip hop? You’ll want to attend the Stormzy-curated This Is What We Mean Day. Pop music more your thing? Head to the Haim and Dermot Kennedy days. Or if the recent release of Meet Me In The Bathroom had you reaching for your Converse and skinny jeans, get yourself down to see The Strokes supported by Yeah Yeah Yeahs.

                    Field Day

                    When: 19th August

                    Where: Victoria Park, London

                    Headliners: Aphex Twin, Bonobo

                    Our tips: Arca, Fever Ray, Kelela

                    More info

                    Now part of All Points East, Field Day is one of London’s finest electronic festivals. Aphex Twin and Bonobo are leading the charge for this year’s event, with an embarrassment of brilliant DJs, producers and artists to be found further down the bill. See you down the front.

                    Reading and Leeds

                    When: 25-27th August

                    Where: Richfield Avenue, Reading / Bramham Park, Leeds

                    Headliners: Billie Eilish, Sam Fender, The Killers

                    Our tips: Wet Leg, Ethel Cain, Scowl

                    More info

                    Bringing together thousands of 18-25-year-olds together on the August Bank Holiday weekend, this split-site festival has earned a reputation as the unofficial AS-Level results party. With that in mind, the bookers have hit the brief perfectly, bringing Billie Eilish, Sam Fender and Lewis Capaldi to entertain punters at Richfield Avenue and Bramham Park.

                    Victorious Festival

                    When: 25-27th August

                    Where: Portsmouth

                    Headliners: Jamiroquai, Kasabian, Mumford & Sons

                    Our tips: Billy Nomates, Mae Muller, Amyl & The Sniffers

                    More info

                    Set on the stunning Southsea seafront in Portsmouth, Victorious makes for a great last hurrah of the six-week summer holidays. And offering everything from Pete Tong Ibiza Classics accompanied by The Essential Orchestra to Aussie punks Amyl & The Sniffers, musically there’s something for everyone.

                    End of the Road

                    When: 31st August-3rd September

                    Where: Larmer Tree Gardens, Dorset

                    Headliners: King Gizzard and the Lizard Wizard, Future Islands, Wilco, Unknown Mortal Orchestra

                    Our tips: Charlotte Adigéry & Bolis Pupul, They Hate Change, Bar Italia

                    More info

                    Indie festivals don’t get much sweeter than End of the Road. Drawing summer to a close with a mix of psych folk-rock and punk, this family-friendly, boutique event is the perfect way to see out festival season. Come for King Gizzard and the Lizard Wizard, stay for the after-hours silent disco.

                    Need Music for Your Project?

                    At Audio Network we create original music, of the highest quality, for broadcasters, brands, creators, agencies and music fans everywhere. Through clear and simple licensing, we can offer you a huge variety of the best quality music across every conceivable mood and genre. Find out how we can connect you with the perfect collaborator today by clicking the button below!

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                    AUDIO NETWORK VINYL

                    BARBIE MOVIE SOUNDTRACK REVIEW

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                      Greta Gerwig’s Barbie is the film of the year. Killing it at the box office, and with a worldwide marketing campaign that turned most of the globe pink, it’s proved that movie-goers still want to go to the cinema with their friends and family. Not only that, but the friendly rivalry with Christopher Nolan’s Oppenheimer, which launched on the same day, has created a true phenomenon: ‘Barbenheimer’ mania saw hordes of fans determined to see both films, with the only argument being which to see first.

                      Barbie has, after months of eager anticipation, claimed its place at the top of the charts, becoming the biggest debut ever for a female-directed film, and netting over $500 million worldwide in its first week. But what about the Barbie soundtrack? Who are the featured artists, what needs to go on your own Barbie movie soundtrack playlist, and - the all-important question - is ‘Barbie Girl’ by Aqua somewhere in the film? We’ve got everything you need to know.

                      The Full Barbie Track List

                      • ‘Pink’ – Lizzo
                      • ‘Dance the Night’ – Dua Lipa
                      • ‘Barbie World (with Aqua)’ – Nicki Minaj and Ice Spice
                      • ‘Speed Drive’ – Charli XCX
                      • ‘Watati’ – Karol G feat. Aldo Ranks
                      • ‘What Was I Made For’ – Billie Eilish
                      • ‘Journey to the Real World’ – Tame Impala
                      • ‘I’m Just Ken’ – Ryan Gosling
                      • ‘Hey Blondie’ – Dominic Fike
                      • ‘Home’ – Haim
                      • ‘Man I Am’ – Sam Smith
                      • ‘Forever & Again’ – The Kid Laroi
                      • ‘Silver Platter’ – Khalid
                      • ‘Angel’ – Pink Pantheress
                      • ‘Butterflies’ – Gayle
                      • ‘Choose Your Fighter’ – Ava Max
                      • ‘Barbie Dreams’ – Fifty Fifty feat. Kaliii

                      It Is the Best Day Ever!

                      The trailer showcases just how brilliant Barbie is going to be, with a mashup of very eclectic songs on its soundtrack: there’s Dua Lipa’s ‘Dance the Night’ (a new track from the soundtrack)  plus a singalong to the Indigo Girls’ ‘Closer to Fine’, Cass Elliott’s ‘Make Your Own Kind of Music’ and – pop cheese fans rejoice! – a snippet of Aqua’s ‘Barbie Girl’ to finish.

                      Some things have been happening to Barbie: her shower’s gone cold, she’s fallen off her roof and most calamitous of all, her feet have fallen flat to the ground. Margot Robbie’s Barbie has to set off to the Real World to get to the bottom of what’s going on, accompanied by Ken (Ryan Gosling). She’ll face off against Mattel CEO Will Ferrell, who’s determined to put her back in her box.

                      Dua Lipa also plays one of the film’s myriad Barbies (Mermaid Barbie), together with Issa Rae and Kate McKinnon. Plus, there’s Emerald Fennell as Midge, Michael Cera as Alan and a slew of complimentary Kens, including Simu Liu and the new Doctor Who, Ncuti Gatwa, while America Ferrera plays one of the key Real World characters.

                      Life in Plastic, It’s Fantastic

                      Barbie the Album has been produced by super-producer Mark Ronson and is being released through Atlantic Records. Who are the artists on the Barbie movie soundtrack? Naturally, it’s a who’s who of fantastic female artists, including Lizzo, Nicki Minaj, Karol G, Ice Spice, Charli XCX, Haim, Ava Max and Billie Eilish. Plus, there’s Sam Smith, Tame Impala and Khalid. It’s got dancefloor bangers, ballads and melancholic tunes: in short, something for every Barbie and Ken.

                      Oh, and if you’re a vinyl fan, there’s – of course – an amazing hot pink version of the album available.

                      Mark Ronson was originally brought on board to produce two songs for the film, but his role expanded to executive-producing the whole soundtrack and scoring the movie alongside collaborator Andrew Wyatt. Together with director Greta Gerwig (Lady Bird, Little Women), the music team wanted to cover the whole pop landscape – from dancefloor to drill, summery reggaeton to glossy K-pop and a tear-jerking Billie Eilish ballad.

                      Gerwig sent Ronson a playlist of music she loves, including songs from Xanadu, as well as what Ronson referred to as ‘guilty pleasure music’ or ‘Peloton pop’. The pair assembled a dream list of artists they wanted to be on the Barbie album. Each of the artists who signed on to the project were shown the scene they were going to write for and were given free rein to approach the songs with their own distinct music style.

                      Music plays a pivotal part in the film, as Margot Robbie told Rolling Stone: ‘You’re hearing lyrics that are responding to what’s happening onscreen, so the music became more than just music — it became a device to enhance what the audience was watching and experiencing, and got to be the voice of the audience.’

                      ‘Dance the Night’ – Dua Lipa

                      The first single on the Barbie soundtrack is another Dua Lipa pop disco banger. On a first listen, you’ll find yourself bopping away to its carefree energy – perfect for Barbie Land – but give the lyrics a closer listen and you’ll find some of the anxiety that permeates the movie, such as maintaining a perfect appearance even when you don’t feel perfect on the inside.

                      ‘Barbie World’ – Nicki Minaj & Ice Spice

                      Aqua’s ‘Barbie Girl’ might not be in the movie in its entirety (complicated bad blood still exists with them and Mattel), but Mark Ronson’s found a way to sneak it in, with samples on this collab with Nicki Minaj and Ice Spice.

                      ‘I’m Just Ken’ – Ryan Gosling

                      Simple Ken, feeling angst-ridden? (‘There is no “just Ken”’) Say it ain’t so! But, as one of the taglines for the film says, ‘To live in Barbie Land is to be a perfect being in a perfect place. Unless you have a full-on existential crisis. Or you’re a Ken.’ It’s the kind of soaring power ballad that’ll make you want to either grab your surfboard and head into the Malibu sea, or gaze wistfully at a gorgeous sunset before punching the air when the chorus kicks in.

                      Mark Ronson and Andrew Wyatt wrote and produced the song, and surely deserve some sort of special award for the lyrics, particularly the couplet, ‘Is it my destiny to live and die/A life of blonde fragility?’ When Ronson read the script, he ‘instantly had this idea for this lyric: “I’m just Ken/Anywhere else I’d be a 10”. It just seemed funny. It felt a little bit emo, like, this poor guy. He’s so hot, but can’t get the time of day. It’s about this guy that just can’t get out of his own way. We all have these masks that we put on to impress people and all we really want to be is ourselves.’

                      And because he’s Mark Ronson, once Ryan Gosling had laid down his vocals, the producer just happened to send the track to Guns N’ Roses guitarist Slash. Not only did he find it cool enough to play guitar on, but Wolfgang Van Halen and Josh Freese of Foo Fighters also added their talents to the mix. So, whilst it might sound like a throwaway 80s number, it’s not lacking in heavyweights (and as Ken himself says at the end of the song, ‘I’m just Ken and I’m enough/And I’m great at doing stuff’). Channel that Ken-ergy next time you need a boost

                      If you haven’t seen the film yet, then prep yourself, as Ronson had to, for the two-and-a-half-minute song he wrote turning into ‘an eight-minute, giant sequence’ with all the Kens doing battle and another brilliant, epic choreography moment.

                      Who Is Singing in the New Barbie Movie?

                      Other notable names on the soundtrack include Lizzo, with ‘Pink’, which runs over the opening credits. Mark Ronson revealed to Vulture that he’d originally written it as an instrumental. There were 80s influences, such as Working Girl and Tootsie – ‘there’s this thing when the movie starts, she’s marching into her day and everything’s fucking great’. The song wasn’t really working until Lizzo took matters into her own hands and ‘just starts narrating what’s going on on the screen’.

                      With the credit sequence still rolling over an instrumental, Greta Gerwig told Lizzo, ‘to do whatever she wants. She can keep singing. She can tell Helen Mirren, “Stop talking, I’m singing here” – whatever.’ Which, as Ronson points out, ‘set a nice bar of how meta we could get, without making every word of every song “Barbie”. We could have some of these songs almost feel like a reverse-engineered musical.’

                      ‘What Was I Made For?’ – Billie Eilish

                      When it comes to Barbie having to confront an existential crisis, there’s only one artist to turn to: Billie Eilish (‘Looked so alive, turns out I’m not real/Just somethin’ you paid for/What was I made for?’) The singer-songwriter even directed the accompanying video, which features super-cute, Barbie-sized versions of some of her most iconic outfits.

                      The beautiful, piano-led ballad is one for when you want to wallow, but also to see a more hopeful tinge of pink-toned joy on the horizon (‘Think I forgot how to be happy/Somethin’ I’m not, but somethin’ I can be’).

                      Mark Ronson rates Eilish’s performance as ‘one of my favourite vocals of just, hands down, the last 10 years of pop music’ and also praised it as, ‘the song that says all that Barbie’s heart and soul wants to say, and maybe doesn’t even fully get to say in the film.’

                      Find out how Eilish and her songwriting brother Finneas were inspired by Barbie in this interview:

                      What Do Critics Think?

                      Critics and fans alike are loving the movie, with the Guardian hailing it as ‘a riotously entertaining candy-coloured feminist fable’, the Independent proclaiming it, ‘one of the most inventive, immaculately crafted and surprising mainstream films in recent memory’ and Empire boldly declaring that, ‘Life after Barbie will never be the same again.’

                      The magazine’s only criticism was that ‘blink, and you’ll miss some of the vast and vibrant ensemble cast’. So, if you haven’t already seen it, what are you waiting for? And if you have, let’s all go again!

                      And definitely let Barbie music be the perfect soundtrack to the rest of your summer, whether you’re in Barbie Land or the Real World.

                      Girl Power

                      Read about more trailblazing women in film, music and art and the best female directors (including Greta Gerwig) in our deep dives. Or find out what makes the Suicide Squad soundtracks so great, for more from Margot Robbie and the best-selling movie soundtracks of all time (we’ve got a feeling we’ll be updating it to include Barbie…)

                      Plus, if you need music to license for a movie project, look no further than our hand-picked kick-ass women playlist, or the kind of music that gives you an instant ‘Hollywood sound’, courtesy of composer Lorne Balfe’s collection.

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                      This page was updated 23/05/2024.

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