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SELECTING THE RIGHT MUSIC FOR YOUR BRAND

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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.

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    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!

      SIGN UP

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      This page was updated 21/05/2024.

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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.

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        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.

          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!

          SIGN UP

          This page was updated 23/05/2024.

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          THE EVOLUTION OF TOMORROWLAND

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            ‘Is Tomorrowland the world’s best music festival?’ This was the question Forbes posed, as Tomorrowland at De Schorre recreational park in Boom, Belgium, has become one of the world’s best known music festivals. Not to mention it’s won numerous awards, including ‘best musical event of the year’ at the International Dance Music Awards five times in a row.

            DJ Mag named Tomorrowland the world’s best music festival in 2022, commending it especially for ‘pushing the boundaries of production, imagination and creation’. So, what makes it so special?

            The Origins of Tomorrowland

            Tomorrowland history dates back to 2005, when brothers Manu and Michiel Beers, inspired by their love of electronic music and desire to create a unique and immersive experience, had the idea for a large-scale EDM festival. Mysteryland had been captivating fans in the Netherlands, but the brothers had to struggle to build their reputation from Tomorrowland’s humble beginnings. The first year, they hosted around 10,000 party-goers; mainly locals, it’s even rumoured that the organisers gave out free tickets to fill the venue. How times have changed…

            Performers at that first festival included Push (M.I.K.E.), Armin van Buuren, Cor Fijneman and Technoboy. David Guetta is the only producer/DJ that’s played every year so far.

            What really started to put Tomorrowland on the map worldwide was its FOMO-inducing YouTube roundups after each festival. They were the first dance music brand to successfully capture high quality after-movies, and now have 10.5 million subscribers to their channel.

            Watching the evolution of Aftermovies in terms of their production values is like watching EDM festivals grow up in front of your very eyes:

            A decade ago, the 2013 Aftermovie had added style, a story and a voiceover:

            This Official Aftermovie from 2022 shows just how far the festival has come – it’s an absolute epic:

            Tomorrowland expanded to two days for the first time in 2007 and the Main Stage size and design also started to get bigger. In 2008, there were over 100 artists on the lineup and over 50,000 attendees for the first time.

            Growth and Global Recognition

            As you can see if you watch all the Aftermovies, over the years, Tomorrowland has grown from a start-up to a global brand, with EDM fans from all over the world desperately trying to be one of the chosen few. Now? Over two million log in to buy tickets, despite the fact that the festival grounds can only hold 60,000 people per day. These days, only Glastonbury sells out faster.

            In 2014, to celebrate the festival’s 10th anniversary and to meet the high demand for tickets, Tomorrowland was held over two weekends in July for the first time. MTV announced that it would produce two hour-long MTV World Stage specials featuring performances from the festival. And even composer Hans Zimmer joined the party, producing a classical hymn that would premiere there.

            The ten-minute-long composition took listeners on a magical journey embodying the mythical qualities, atmosphere and international character of Tomorrowland. Zimmer worked with a symphony orchestra at the world-famous AIR Studios in London to create the anthem, bringing different cultures together with tribal drums and stirring strings.

            The 2019 edition welcomed 400,00 visitors over two weekends and featured an astonishing 1000 artists on 18 stages spread over a massive 38-hectare area along the Rupel River.

            And it’s not only expanded to become a two-weekend event, but also to other countries. After mastering the art of creating a huge spectacle in Belgium, Tomorrowland’s creators decided to bring their party to the US. Sister festival TomorrowWorld was born, taking place in Atlanta Georgia for the first time in 2013. TomorrowWorld set up camp in Chattahoochee Hills, 48 kilometers southwest of Atlanta, which was specifically selected owing to the similarity of the site to the original Tomorrowland in Boom.

            Dance world domination became the name of the game for the fondly-named People of Tomorrow (i.e. Tomorrowland fans) – in 2014, it was announced that Sao Paulo in Brazil would be the next city to host a Tomorrowland super-party.

            Tomorrowland: More Than Music

            Tomorrowland’s fusion of music, art and technology creates a multi-dimensional experience. From 2009, the festival introduced a theme; ‘Masker’ was brought into the main stage design, with performers inside the Masker’s mouth.

            The festival now boasts hugely elaborate stage designs, with breathtaking visual effects. Each stage has its own theme – there’s the fire-spewing Dragon stage; the Freedom, Rose Garden and Elixir stages, and the gigantic Main stage with mind-blowing audio visuals, floating dancers, epic lightshows and fireworks. Lakes are filled with fake fish that look as though they’re breathing fire; water jets and fog machines are installed; lamp posts have been replaced by ones covered in golden flowers – it’s a visual festival as much as a music one.

            Plus, don’t forget to see who’s playing the Rave Cage and Youphoria, The Library and Crystal Garden.

            Want to blow the budget on some amazing food while you’re there? Inside the main stage, there’s a two-star Michelin-rated restaurant, which seats just 12. Its tasting menu, at over $1000 a plate, donates its proceeds to charity.

            Iconic Moments and Milestones

            After the pandemic shut down the festival for two years, the 2022 edition of Tomorrowland was extended to take place over three weekends and registered a record 600,000 visitors from 200 countries.

            The festival also managed to up its game by creating a unique mainstage called the ‘Reflection of Love’, which was reproduced in Virtual Reality, using the Horizon Worlds app; creator Jake Donaldson launched his creation in the metaverse. Will Tomorrowland also become the world’s biggest online festival?

            The Legends of Tomorrowland

            Some of the now legendary Tomorrowland sets include:

            • 2010 – Swedish House Mafia – could the Swedish trio have imagined their impact on the world of dance music? The SHM juggernaut helped to propel Tomorrowland into the spotlight thanks to this set – which has amassed nearly six million YouTube views:
            • 2012 – Nervo – Aussie twins Liv and Mim are Tomorrowland regulars and the girls stormed it on the Main stage with a sensational edit of Coldplay’s ‘Viva La Vida’ and Porter Robinson classic ‘Language’:
            • 2013 – Nicky Romero X David Guetta X Afrojack – bringing three of the world’s biggest-hitting DJs together and kicking off with 2013’s biggest summer track from Fatboy Slim, ‘Eat, Sleep, Rave, Repeat’? Still regarded as a legendary Tomorrowland moment:

            Taking Tech to New Heights

            Tomorrowland were at the forefront of innovation during the two years when the pandemic meant they had to cancel in-person festivals. Tomorrowland Around the World in 2020 coupled ultramodern video and entertainment technologies with an artist line-up that featured Katy Perry and Steve Aoki to attract more than a million fans.

            Its second virtual concept launched on New Year’s Eve 2020, with Diplo, Major Lazer, Tiesto, David Guetta and Armin Van Buuren. The digital experience was adapted for all 27 time zones around the world, with more than 25 artists performing in an immersive digital entertainment venue called NAOZ on four digital stages, enhanced with state-of-the-art 3D technology, video production and special effects.

            Michiel Beers, founder of Tomorrowland, pointed out that the festival has always been looking for new ways to connect with fans and elevate their experience: ‘For more than 15 years, Tomorrowland has proven to be a solid innovator in the global festival industry. New technologies, perspectives, and ideas – in fact, the modernisation of the ‘festival’ concept, has often originated at the event in Belgium.’

            More EDM

            Tomorrowland, from its roots as a small local festival has become not only a world-beating event, but a pioneer in tech and design and the place to break new acts and experience dance music at its very best.

            Tomorrowland caters for fans of all electronic music genres, from progressive house to techno, trance, house, chill, trap, hardstyle and more. Get that festival feeling with our hand-picked playlists and collections, including electronic, and the biggest hits from our EDM albums. And remember that EDM is perfect for licensing for any kind of content, from digital to advertising and TV.

            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 and 27/06/2024.

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            LADIES FIRST: A STORY OF WOMEN IN HIP-HOP REVIEW

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              Hip Hop is celebrating its 50th birthday this summer (11th August, to be precise – the date on which DJ Kool Herc took to a turntable at his sister’s back-to-school party in the Bronx), which makes it the perfect time for Netflix’s new four-part series. With artists like Latto, Megan Thee Stallion, Coi Leray and Ice Spice, some of the biggest viral songs in the past few years have been by women, so it’s high time there was a show concentrating on the women in hip hop. Welcome, then, to the streamer’s latest music documentary series, Ladies First: A Story of Women in Hip Hop.

              https://www.youtube.com/watch?v=gMq-I0dejjE

              Who are the team behind it, which artists are featured, and how did they shape the genre, from its infancy to its present-day status as one of the planet’s most influential and popular genres?

              https://www.youtube.com/watch?v=QMcnPdp54aE

              The Team

              The docuseries is the brainchild of Culture House, which bills itself as ‘a Black-, brown- and women-owned production company and cultural consultancy’. Producer Carri Twigg and her film-making partner Raeshem Nijhon agreed that they wanted to do ‘a project about women in hip hop, but in a way that was contemporary and different.’ Ladies First is co-produced by writer and documentarian dream hampton (Surviving R Kelly) and Black Panther’s production designer, Hannah Beachler.

              The existence of the docuseries itself is indicative of how difficult it is for female creatives: they couldn’t get it greenlit until Netflix stepped in. Raeshem Nijhon told the Guardian, ‘It was really hard to sell. We were surprised by it because these are the most iconic and influential women in pop culture, and people were like, “Uh, I don’t know.” There are names everyone is following, and this is where fashion trends come from. It was eye-opening for us.’

              The woman who said yes to it? Netflix exec Jamila Farwell, who wanted to make a project about women in hip hop. As Nijhon says, ‘it turned out to be a good story about the power of truly diverse folks on both sides of the coin.’

              The Line Up

              The films feature a star-studded cast including Sha-Rock, Queen Latifah, Roxanne Shanté, MC Lyte, Remy Ma, Tierra Whack, Latto, Monie Love, Saweetie, Chika and many more. Plus, the series shines a light on the female fashion stylists, A&R reps, journalists and producers who have also influenced hip hop, shaping its cultural, social and artistic dimensions.

              Who brought the Sugar Hill Gang together, for example? A producer – and Sugar Hill Records’ CEO – called Sylvia Robinson, who knew ‘Rapper’s Delight’ was a hit the moment she heard it.

              https://www.youtube.com/watch?v=CP8CEz076R0

              Singular & Exceptional

              ‘Black women’s contributions in hip hop are treated as moments, as almost flukes, and then they’re these things that kind of go away. We’re looked at as singular and exceptional, but not part of the general fabric of excellence that people usually attribute to a culture that lasts for 50-something years.’

              Dr Joan Morgan – writer and programme director of NYU’s Centre for Black Visual Culture

              The producers have called on a diverse ensemble of talking heads, including scholars and industry professionals, to examine the factors – patriarchal, racial, economic, among many – that have contributed to Black women’s marginalisation within both hip hop and mainstream culture. The contradiction between women who are so influential in pop culture, and their mistreatment, underappreciation and outright erasure comes through most obviously in the second and third episodes, ‘What are they up against?’ and ‘What have they lost?’

              As just one example, artists such as TLC and Megan Thee Stallion might be huge international bestsellers, but as Drew Dixon, a former director of A&R at Def Jam, explains, they were victims of ‘360 deals’. These are contracts that allow labels to take a shockingly high percentage of their artists’ earnings.

              ‘We Are Here. You Will Listen.’

              First-time director Hannah Beachler features global superstars such as Nicki Minaj and Cardi B, but establishes them as part of a long, under-appreciated lineage. The first episode focuses on pioneers including the earliest femcees MC Sha-Rock – the first female MC ever recorded – and the first to release a solo hip hop album, MC Lyte, together with Roxanne Shanté, Da Brat and Queen Latifah (the series is named after her 1989 track with Monie Love).

              https://www.youtube.com/watch?v=8Qimg_q7LbQ

              ‘In the recording of the histories, women are looked at as these exceptions that made it through this male space,’ says Dr Joan Morgan, ‘as opposed to the people who make the culture, who are shaped by the culture, who live and breathe the culture.’

              The other episodes are organised thematically rather than chronologically. Whilst it’s a big ask to fit 50 years’ hip hop history into four, 45-minute episodes, one of the Guardian’s criticisms of this approach is that, ‘when history is presented non-chronologically in this way, it’s easy to minimise how insidious forms of misogyny, chauvinism and homophobia were rehashed and recreated over and over again. For women in rap as a group, attaining recognition has been a one-step-forward, two-steps-back process; but here the documentary has a tendency to make the obstacles rappers faced seem like isolated incidents that were dealt with and overcome swiftly, rather than systemic barriers.’

              Others have pointed out that the series prioritises solidarity and sisterhood, ignoring the beefs between Queen Latifah and Foxy Brown, or Nicki Minaj’s long-running spats with Lil’ Kim, Remy Ma and Cardi B. Plus, Minaj, Missy Elliott and Lauryn Hill are all notable omissions from the series, in terms of to-camera interviews.

              However, Ladies First still succeeds in covering an enormous amount of ground, from colourism to incarceration rates, to the appropriation of the culture’s aesthetics by white artists such as Miley Cyrus and Madonna. There’s also men’s misogyny and double standards and the challenges faced by queer women in rap, together with impossible beauty standards and hypersexualisation.

              As well as the insightful artist interviews and gripping personal accounts, there’s a mass of fantastic archival deep dives, all of which, as Decider.com says, ‘builds a valuable timeline between the women who first made it viable, those who built on that, and a contemporary generation who have arrived to thrive in a landscape forever changed by that earlier work.’

              And now, with a diverse line-up of contemporary women rappers, there’s room for everyone in the limelight, which final episode ‘What’s Changing?’ highlights. As Latto says, ‘That’s what I like most about this wave right now. We all different shades. We all from different places. We all stand for something different.’ In this last film, women from across generations reflect on their journeys and highlight the strength they’ve found in solidarity.

              https://www.youtube.com/watch?v=-WtNCR3EDS4

              Spanning some truly shocking revelations to their many triumphs, Ladies First is a long-overdue appreciation and immersive journey into the world of the women behind – and at the forefront of – hip hop culture.

              Want More Hip Hop?

              Take a deep dive into 50 years of hip hop history, or discover the five pillars of hip hop. And for more extraordinary women in hip hop, including Queen Latifah, read about music’s iconic female activists, or explore the systemic challenges that women are still facing in the music industry, featuring trailblazer Missy Elliott.

              For hundreds of hip hop tracks, check out our Beat Series, and our hand-picked Kick Ass Women playlist.

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              OPPENHEIMER SOUNDTRACK REVIEW: WHO WROTE THE SCORE?

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                The Oppenheimer movie was one of the most anticipated films of summer 2023, and it’s been a huge hit at the box office (no doubt helped along by the ‘phenomenon). The three-hour-long biopic of J. Robert Oppenheimer, the so-called ‘father of the atomic bomb’ directed by Christopher Nolan is hugely powerful – does it have a soundtrack to match?

                For over a decade, Christopher Nolan’s films, including Inception, Interstellar and Dunkirk, have been characterized by Hans Zimmer’s sweeping soundscapes – not least that iconic, thunderous bwahhhhh noise that was so suited to epic action on an IMAX screen, and which came to redefine ‘the Hollywood sound’.

                Who Is Doing the Soundtrack for Oppenheimer?

                The Hollywood Reporter described it as an, ‘extraordinarily forceful, almost wall-to-wall-score’, whilst Collider praised the ‘ever-present score [which] accompanies nearly every moment of the film, knowing exactly when to pull back, or when to provoke the audience with the sounds of a ticking clock, or static underneath the onslaught of an orchestra fully enveloping the viewer in sound. Nolan and van Hoytema’s visuals are always impressive, but it’s Göransson’s score that takes Oppenheimer to another level and continues to prove that he’s one of the most exciting composers working in film today.’

                The Oppenheimer music composer is Swedish maestro Ludwig Göransson, who has won an Oscar and a Grammy award for the Black Panther soundtrack (he’s the man behind both that and Black Panther: Wakanda Forever).

                Based on the 2005 biography American Prometheus, the film chronicles the career of American theoretical physicist J. Robert Oppenheimer (Cillian Murphy), taking him from his early studies in Cambridge and Germany to his direction of the Manhattan Project during World War II and the development of the atomic bomb at Los Alamos, New Mexico, through to his eventual fall from grace due to his security hearing in 1954.

                Göransson revealed to Vanity Fair that, ‘It’s definitely a different personal journey for me, to do a first-person score, where you do everything from his eyes and from his mind. It was draining, but very interesting to think about too.’

                Oppenheimer marks Göransson’s second project with director Chris Nolan, following 2020’s Tenet. Although the movie is epic in its scope, it’s also focused on Oppenheimer’s life and emotional state – ‘you’re constantly trying to emote what he’s feeling on the screen.’

                The Oppenheimer Movie Soundtrack

                The story’s intensity often makes the score relentless, with a wealth of strings – particularly violins – together with some unexpected sounds such as ticking clocks and a repeated use of stomping feet during key scenes. Curzon.com described it as, ‘a dense, bold, violin-led soundscape that is a crucial component of Christopher Nolan’s latest opus.’

                In terms of Oppenheimer music, Nolan was keen on the idea of experimenting with violins – and Göransson was helped out by the fact that his wife, Serena McKinney, is an accomplished violinist. He worked on different violin sounds ‘to really capture the emotional spectrum of Oppenheimer’s character’, and then fused them with modern production and synthesisers. The synths were brought in ‘to symbolise the impending doom.’

                Why the violin? As Göransson explained to NME.com, ‘Oppenheimer was a genius with a lot of complex layers underneath. With a solo violin, you can play the most beautiful, romantic vibrato. But then if you press down the bow heavily and change the speed, you can make something horrific, manic or neurotic in a split second… Chris and I were constantly talking about going in and out of different emotions.’

                An interesting aspect of the score is that there’s no percussion; Göransson thought that it would lessen the impact of the stomping, and of the bomb itself.

                One of his biggest challenges was the scene where Oppenheimer is giving a speech to his team at Los Alamos after they’ve dropped the first bomb on Hiroshima. ‘Something is shifting inside of him. And I feel like what was going on, how Cillian Murphy captured that in that performance, how it goes to something nightmarish, it almost transfers to a horror movie. And how they did that with effects and visual effects and sound, that was one of the most difficult things to score because the emotion is so complex there. You don’t want the music to feel what the audience is seeing, you want the music to embolden what he’s going through.’

                Göransson revealed that he and Nolan worked on that particular scene and its music for nine months – and that ‘it wasn’t until three days before finishing the movie that we had a eureka moment and figured out how to put music to his emotions.’

                Other characters in the film have different instruments at the core of their themes. Oppenheimer’s wife, Kitty, played by Emily Blunt, has a theme that’s piano-led, while Levi Strauss (Robert Downey Jr.), the chairman of the Atomic Energy Commission, has a harp, which ‘symbolises the mystery of his character, and his real intentions.’

                Göransson describes the soundtrack as, ‘such a dense score, but at some points it’s also very simple. And that’s part of the filmmaking – how to understand where you can bring in more, when to take back and how effective it is.’

                One of the most significant tracks, in terms of its technical difficulty, is ‘Can You Hear the Music’, which accompanies footage of atoms and fluorescent lights. Göransson explains that, ‘there’s a violin line that consists of a Hexatronic scale, which is six notes. When it goes down, it goes faster. When it goes up again, it goes slower. When it goes down, it goes even faster. So it’s an arpeggio, up and down. It has a total of 21 tempo changes. The piece ends three times faster than when it started.

                When it came time to record that with a live string orchestra, I thought that was going to be impossible for them to perform. So first we recorded it in sections. We did four bars, we stopped, we did four more bars, and I just taped it together. It sounded cool, but also not real. Serena has been playing with that group for 20 years, and she knows how incredible they are. She was like, “What if you try to do this in one take, and you just give them a new tempo in their ears before the tempo changes?” When I heard it for the first time, it breathed new life into that piece. Then, obviously, there’s a bunch of production in it too, with synths playing in different metric modulations under it. Altogether, I felt like that visual that I’d seen in the beginning came to life.’

                Having assumed that the piece as he’d written it was ‘unplayable’, the orchestra spent three days on it before managing to pull it off.

                Oppenheimer Soundtrack Tracklist

                1. ‘Fission’
                2. ‘Can You Hear the Music’
                3. ‘A Lowly Shoe Salesman’
                4. ‘Quantum Mechanics’
                5. ‘Gravity Swallows Light’
                6. ‘Meeting Kitty’
                7. ‘Groves’
                8. ‘Manhattan Project’
                9. ‘American Prometheus’
                10. ‘Atmospheric Ignition’
                11. ‘Los Alamos’
                12. ‘Fusion’
                13. ‘Colonel Pash’
                14. ‘Theorists’
                15. ‘Ground Zero’
                16. ‘Trinity’
                17. ‘What We Have Done’
                18. ‘Power Stays in the Shadows’
                19. ‘The Trial’
                20. ‘Dr Hill’
                21. ‘Kitty Comes to Testify’
                22. ‘Something More Important’
                23. ‘Destroyer of Worlds’
                24. ‘Oppenheimer’

                The trailer uses elements of Göransson’s score, combined with a subtle nod to the ‘stomps’ on the soundtrack, the clicking of a Geiger counter, some epic slams, and strategic uses of silence to symbolise the shift from Oppenheimer being hailed as a hero to the later courtroom scenes.

                More From the Movies

                Want more movie-and-music inspiration? Check out the bestselling movie soundtracks, and explore the work of the top movie composers working in the industry. Or, to lighten the intensity after you’ve watched the Oppenheimer movie, indulge yourself with some iconic love songs from movie soundtracks.

                Looking for music to license for your movie project? Harness the power of the perfect soundtrack with music that resonates, or capture that Hollywood sound with blockbuster composer Lorne Balfe’s collection. We have thousands of tracks which are ideal for film scores and trailers in our catalogue.

                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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                T.I.M. SOUNDTRACK & REVIEW

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                  What would make your life easier? A Roomba to do the vacuuming? A self-driving car? Or maybe… a permanent extra hand around the house? After a post-I, Robot lull, artificial intelligence has been on the rise again recently on our screens – so who, or what, is T.I.M. and should you be tuning in?

                  After the huge global success of micro-budget M3GAN last year, it looks like we’re in for a slew of ‘creepy robot companion’ movies. Netflix’s new movie T.I.M. is a British techno chiller – ‘a cross between Fatal Attraction and The Servant, Harold Pinter and Joseph Losey’s 1963 drama about a malevolent manservant’ (Guardian). There are also dystopian elements from Black Mirror, Ex Machina and Humans.

                  The character of T.I.M. – short for ‘technologically integrated manservant’ – played by Eamon Farren, is a humanoid robot. He’s a prototype being tested at home by robotics engineer Abi (Georgina Campbell).

                  ‘I think we’re going to be really happy here’, Abi says optimistically to their estate agent, as she shows Abi and her husband Paul (Mark Rowley) round their uber-smart home. Yes, that’s definitely going to happen, then.

                  They’ve moved into their fancy pad, supplied by the company Abi’s working for, hoping to start over following Paul having had an affair. On day one of Abi’s new job at the lab, where she’s heading up a team focusing on new T.I.M. models and upgrades, her boss promises her a present, which will be waiting at home for her. Paul opens the garage to reveal a huge black box – not unlike the black monolith from Kubrick’s 2001. It’s housing a T.I.M. and before long, like many an android before him (we’re thinking David from Ridley Scott’s Prometheus and Alien: Covenant in particular), he’s decided that maybe he wants to do things on his terms, rather than follow his programming.

                  Paul grows uneasy, but can he outwit the devilishly clever – and increasingly tech-savvy – T.I.M.? And how far will the malevolent manservant go to get what he wants?

                  The Creative Team

                  T.I.M. is the feature debut from comedian turned writer-director Spencer Brown, who describes the film as a ‘stalker thriller’. He and his partner and co-writer Sarah Govett (The Territory) drew on the fact that they’re ‘weirdly paranoid’ about technology, Big Data and the impact that devices and algorithms such as Alexa are having on our lives. Plus, they’re both huge fans of 90s thrillers like Fatal Attraction, The Hand that Rocks the Cradle and Single White Female. T.I.M. brings both of these elements together in one terrifying persona.

                  And as for the character of T.I.M. himself, Brown revealed to Sci Fi Now that, ‘I think it was really important that the whole thing felt very grounded… the whole journey of the film is about the way that Abi stops seeing him as a robot and forgets that he is a robot. So we wanted it to be the case that you could forget it.’

                  He’s certainly helped by a terrific performance by Australian actor Eamon Farren (who fans might recognise from The Witcher) as the titular android, who segues effortlessly from super-helpful to sinister, and then keeps ramping up the shocks when he becomes obsessed with Abi.

                  As for what Brown wants viewers to take away from the film, as well as being entertained? ‘I’m hoping that it will resonate with people and make them think about AI. I guess the big question for us is, what are you letting into your life and for what? Yeah, you can have access to our camera. Yeah, you can follow my location. Yeah, you can do these things. But what’s it for really? A bit of convenience, just to make our lives 1% easier? It’s a very small gain for a potentially very big loss.’

                  Brown himself confesses to being ‘a complete Luddite’, with zero smart features in his own home; the underlying message of the film is definitely worth thinking about. Even if, hopefully, your Ring doorbell isn’t going to try to kill you...

                  The Soundtrack

                  T.I.M.’s soundtrack has been written by Ivor Novello-nominated and Telly award-winning composer Walter Mair. Mair has worked with every combination of music, from epic orchestrations recorded with 80-piece choirs to intimate, small ensemble and hybrid electronic pieces.

                  Mair’s portfolio includes feature films, documentaries, TV dramas and video games. He scored 2021 survival thriller Till Death and psychological horror The Unfamiliar, which won the 2021 Telly Award for Best Original Music. He’s also worked on Netflix docuseries Formula 1: Drive to Survive – another Telly Award-winner – and video games including Grand Theft Auto, Killzone and the Total War series.

                  Mair’s soundtrack for T.I.M. is elegant and spare. There’s soft, dreamy piano at the start of the film, as we’re introduced to Abi and Paul’s new house, deep in the countryside, promising a calm life as they make plans to start a family and leave their previous problems behind them.

                  The lab sequences have a slightly otherworldly, more electronic feel to them, picking up on the story’s tech elements. Perhaps the most striking part of the soundtrack is when Abi listens to a classical piece on her headphones when she’s out jogging, and then T.I.M. plays the same piece on the piano for her later in the film – he’s monitored how many times she’s listened to it, and knows it’s one of her favourites.

                  Mair has avoided the most common horror/thriller tropes, creating an interesting backdrop for the film’s blend of countryside idyll and tech terror.

                  Need Music for Your Project?

                  If you’re looking for sci fi tracks, then our hand-picked playlist has plenty of options, or create ominous atmospheres with our dark choices. We have a huge classical collection and if you want to merge classical techniques with modern electronic production, then our hybrid orchestral selections have you covered.

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                  SOUTHERN ROCK MEETS HYBRID ORCHESTRAL: NOW STREAMING ON DSPS

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                  With England footballers making the Women’s World Cup Final, and female solo artists claiming the top six singles in the UK for the first time in Official Charts history, August 2023 was a landmark month for women. Elsewhere, we saw the BRIT School get the go-ahead to open a northern branch in Bradford, and Self Esteem and Jake Shears announced for leading roles in West End musical Cabaret.

                  August at Audio Network was anything but quiet, with a slew of superb commercial releases making their way to all the major DSPs. First up, Party Hop Worldwide, a summery hip hop collection from Jason Derulo and Taio Cruz-collaborator Thamaddrumma. We also welcomed the return of trailer titan Mark Petrie, whose latest LP Winning Streak is tailormade for sports content.

                  Speaking of big hitters in Hollywood, Hans Zimmer-collaborator Lorne Balfe joined the Audio Network roster, and shared hybrid collection Synth Orchestral. Taking a very different approach, Benjamin Epand can be found exploring swampy Southern rock on his latest album Swag To The Bone, while Emmy-nominated composer Sunna Wehrmeijer presents epic alt-pop and pop-rock on Lost My Name.

                  Find out more about August's commercial releases below.

                  Take me to Spotify!

                  Thamaddrumma – Party Hop Worldwide

                  New from Hulu and Netflix-approved composer Thamaddrumma, Party Hop Worldwide fuses hip hop with futuristic EDM trap and reggaeton grooves. Bring the energy to your next production with this eclectic yet summery collection.

                  LISTEN NOW

                  Mark Petrie – Winning Streak

                  For a soundtrack to sports content, look no further than Winning Streak from the man behind trailer music for Mission Impossible: Ghost Protocol, Guardians of the Galaxy and Avengers: Infinity War. These emotionally charged hybrid orchestral themes capture the adrenaline of competition, using forward-moving strings, bold brass, piano, synths, choirs and impactful drums and percussion. A sure-fire way to make sure your production finishes first.

                  LISTEN NOW

                  Benjamin G. Epand – Swag To The Bone

                  Rock fans take note: screaming solos and stomping beats set the pace for the latest collection from Los Angeles-based producer, songwriter and mixer Benjamin Epand. From driving rock to swampy Southern blues, Swag To The Bone is must-listen for anyone looking to bring a little grit to proceedings.

                  LISTEN NOW

                  Lorne Balfe – Synth Orchestral

                  Joining the Audio Network roster this August was Lorne Balfe, AKA the Grammy-winning composer of music for Top Gun: Maverick, Black Widow and the Mission Impossible series. Synth Orchestral is part of a series of hybrid orchestral albums that draw on the Scottish composer’s vast feature film experience. A sure-fire way to catapult your content to the A-list.

                  LISTEN NOW

                  Sunna Wehrmeijer – Lost My Name

                  Joining the Audio Network roster this August was Lorne Balfe, AKA the Grammy-winning composer of music for Top Gun: Maverick, Black Widow and the Mission Impossible series. Synth Orchestral is part of a series of hybrid orchestral albums that draw on the Scottish composer’s vast feature film experience. A sure-fire way to catapult your content to the A-list.

                  LISTEN NOW

                  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!

                  SIGN UP

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                  THE BEST SONGS ABOUT CATS

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                    ‘There are two means of refuge from the misery of life: music and cats’. Einstein was a brilliant scientist, but this, for us, is what truly sums up his genius (he was a great animal lover, and particularly devoted to his cat, Tiger). So, what could be better than a list of famous songs about cats? Here’s our pick of the best cat songs to add to your purrfect Spotify playlist (pawlist?)

                    Popular Songs About Cats

                    • ‘Lovecats’ – The Cure
                    • ‘Everybody Wants to be a Cat’ – The Aristocats
                    • ‘Stray Cat Strut’ – Stray Cats
                    • ‘Cool for Cats’ – Squeeze
                    • ‘Memory’ – Cats
                    • ‘Alley Cats’ – Hot Chip
                    • ‘Pads, Paws and Claws’ – Elvis Costello
                    • ‘What’s New, Pussycat’ – Tom Jones
                    • ‘Cool Cat’ – Queen
                    • ‘Cat music’

                    ‘Lovecats’ – The Cure

                    80’s songs about cats don’t come much more iconic than this. It makes being a cat out on the town sound like the most fun you can have (‘We slip through the streets/While everyone sleeps/Getting bigger and sleeker/And wider and brighter’), whilst also infusing the idea with a mixture of Alice in Wonderland craziness and Beatrix Potter anthropomorphism (‘Hand in hand/Is the only way to land/And always the right way round/Not broken in pieces/Like hated little meeces’). Throw in a brilliantly danceable tune with that unmistakable double bass and Robert Smith meowing and let’s go, into the sea, you and me…

                    ‘Everybody Wants to be a Cat’ – The Aristocats

                    Disney have created a host of fantastic felines, from Bagheera and Shere Khan in The Jungle Book to Simba and Scar in The Lion King. But some of their original top cats were found in the 1970 classic The Aristocats. The musical romcom sees a family of aristocratic cats who live in Paris being helped out by alley cat Thomas O’Malley. This is a jazzy little number that definitely brings to mind Baloo the bear in The Jungle Book’s laissez-fair attitude to life – not a great surprise, given that the same actor – Wonga Philip Harris – voiced both.

                    ‘Stray Cat Strut’ – Stray Cats

                    Rockabilly cool, courtesy of Brian Setzer and the boys – and written when Setzer was just 18 and was a fan of cartoon series Top Cat. The band’s name, meanwhile, was a nod to Elvis Presley, the ‘hillbilly cat’ and how the early rockers called each other ‘cats’.

                    ‘Cool for Cats’ – Squeeze

                    One of the band’s biggest hits doesn’t have that much to do with cats when you read the lyrics, but it’s relentlessly catchy and is from their album of the same name. It was one of Squeeze’s biggest hits, peaking at No. 2 in 1979, and has a rare lead vocal by lyricist Chris Difford.

                    The title actually came from a rock ‘n’ roll TV show from the late 50s and the tongue-in-cheek lyrics are all about the band’s social scene from their youth, when they were in a bit of a bubble.

                    ‘Memory’ – Cats

                    When Andrew Lloyd Webber came up with the idea of a musical based on poems by T.S. Eliot, could anyone have foreseen what a decades-long smash it would end up being? (Let’s wipe the bonkers 2019 live action film, starring everyone from Judi Dench to Taylor Swift and Idris Elba from our, ahem, memory).

                    The standout song from the original musical is undoubtedly ‘Memory’ sung by Grizabella, a one time ‘glamour cat’ who’s fallen on hard times and is ostracised by the other cats. Elaine Paige played the part in the first West End production and made it her own; it was named the Best Song Musically and Lyrically at the 1982 Ivor Novello Awards, and in 2020, the Evening Standard wrote that, ‘Paige’s version set the standard and enabled ‘Memory’ to become one of the most recognisable musical theatre songs of all time.’ In the list of famous songs about cats, this has got to be right up there.

                    ‘Alley Cats’ – Hot Chip

                    Cats and people often have complicated relationships, and ‘Alley Cats’ captures this perfectly. The two people in Hot Chip’s relationship are described as ‘alley cats’ – constantly restless and seeking attention and affection from each other. There’s both a deep connection and a sense of isolation in the song – anyone who owns a cat that regularly disappears and decides to spend whole days at a neighbour’s place before waltzing back in and yowling for Dreamies will find this is their perfect theme song.

                    ‘Pads, Paws and Claws’ – Elvis Costello

                    If you’ve ever been on the wrong side of a cat, then this is the tune for you. Costello says it’s ‘just a story about some drunk guy who doesn’t know what good stuff he’s got’, but we prefer to think of it as a tune dedicated to a demanding cat ‘practising ways to flirt’ by stalking round your bedroom before leaping on top of you, claws out, insisting that you feed her. As cat owners, we’ve all been there.

                    ‘What’s New, Pussycat’ – Tom Jones

                    We couldn’t have a list of songs about cats and leave out this classic. The theme song for the eponymous movie, starring Peter Sellers and Woody Allen, was written by Burt Bacharach and Hal David and became the Welshman’s third top 30 record in 1965.

                    ‘Cool Cat’ – Queen

                    Anyone who’s seen Bohemian Rhapsody knows that Freddie Mercury was a huge cat fan – he had 10 in total. (Apparently, come Christmas time, he’d ensure that each had his or her own Christmas stocking, filled with treats and toys – aww.)

                    This track is from 1982 album Hot Space and was never released as a single, just as a B-side. According to Freddie, it was inspired by his love of cats, and the song’s central character is someone who’s always making a show of themselves and trying to be the centre of attention.

                    ‘Cat Music’

                    Do cats like music? There have been numerous studies to try to find out and according to one scientist, cats tend to like songs that mimic the sounds they like in nature, like bird chirps and purring. As they’ve got better hearing than we have (they can hear up to 64,000 hertz, while we only hear up to 20,000 hertz), they don’t like anything too loud, or with lots of beats.

                    So if you’re choosing something to chill to with your cat, look for tunes with higher, rather than lower frequencies, and natural noises. Try this ‘Cat Music’, or a violin concerto, as string instruments can replicate higher-pitched sounds from nature.

                    And, of course, Spotify has a ton of relaxing playlists if you search for ‘Music for Cats’:

                    Tracks for All Nine Lives

                    When it comes to licensing music with a cat theme, we’ve got you covered! Here are our favourite cat-themed tracks:

                    ‘When the Cat’s Away’ – David Tobin, Jeff Meegan and Julian Gallant

                    Mischievous and playful, this is classical orchestral with a recurring melody that’ll make you think of cats chasing after toys and generally creating mayhem round the house.

                    ‘Cat’s Pyjamas’ – Terry Devine-King and Adam Drake

                    This is light-hearted, vintage swing, with old time guitar, muted trumpet and brass, for when you fancy a carefree strut about, admiring your pristine paws.

                    ‘When Cat Gets Mouse’ – Christopher Baron

                    You can’t have a list like this without a frenzied vintage cartoon chase, can you? Scurrying xylorimba and clarinet are pursued by quirky tuba, double bass and percussion.

                    ‘Black Cat’ – Edward Lee Liggitt III

                    Indie-folk songs about cats don’t come any better than this upbeat little number, with catchy brass hooks and glorious male vocals. A black cat for luck to close out the list? But of course.

                    So there you have it, a whole playlist of playful, mysterious, relaxing and strutting tracks to suit you – and your cat’s – every mood, from dawn till dusk. Head over to our blog for more music, film and TV content, or check out our latest releases and hand-picked playlists.

                    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!

                    SIGN UP

                    This page was updated 28/05/2024.

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