The Music of ‘Widow’s Bay’ Explained

There’s something rotten in Widow’s Bay. Set on an isolated New England island where a centuries-old maritime curse is treated as local fact, Apple TV+’s hit series throws supernatural horror, workplace comedy and small-town politics into the same fog-shrouded melting pot.

One of the big winner’s at this year’s Emmy’s, the series was created by Parks and Recreation’s Katie Dippold and directed by Hiro Murai (Atlanta, The Bear) with occasional support from Ti West (X, Pearl). It follows ambitious mayor Tom Loftis (an award-winning performance from Matthew Rhys) as he attempts to turn the struggling island into an upscale tourist destination. Unfortunately, the locals have other ideas, and when residents start disappearing into the fog, their ancient warnings begin to look considerably less superstitious.

With its blend of eerie orchestration, dark humour and carefully chosen needle drops, music plays a crucial role in Widow’s Bay, helping the series shift effortlessly from creeping dread to absurdist comedy. Here’s a closer look at the soundtrack, why it works, and what brands and editors can take from its distinctive sonic world.

What’s in the Widow’s Bay Soundtrack?

The music of Widow’s Bay is every bit as eclectic as the show itself. At its heart is an atmospheric, orchestral score by Emmy-winning composer David Fleming (The Last of Us, Blue Planet II), whose 27-track soundtrack moves from ominous textures and creeping tension to sweeping, stormy orchestration. Titles such as ‘The Sea Hag’, ‘Beneath the Floorboards’ and ‘Batten Down the Hatches’ give you a pretty good idea of where Fleming takes things.

But the score is only half the story. Music supervisor Toko Nagata, who also picked up an Emmy for her work on the series, fills Widow’s Bay with an eclectic collection of needle drops that constantly play with the show’s shifting tone.

The opening episode sets the template nicely. Jurassic 5’s ‘Quality Control’ brings a hip-hop swagger to the island, while Creedence Clearwater Revival’s ‘The Midnight Special’ feels almost tailor-made for a mysterious New England bar. Later episodes move freely between eras and genres: George Benson’s ‘Give Me the Night’, Willie Wright’s ‘Nantucket Island’, Brian Eno and John Cale’s ‘The River’, The Pointer Sisters’ ‘I’m So Excited’ and Roxy Music’s ‘More Than This’ all make appearances.

And then there’s ‘Rhythm of the Night’ by Corona. Used during the surreal party sequence in episode four, the relentlessly upbeat Eurodance classic is an inspired choice for a scene that veers from party to occult nightmare. According to Nagata, the team considered numerous songs for the sequence before landing on Corona, with creator Katie Dippold ultimately championing the track. It became one of the show’s most talked-about musical moments.

The soundtrack keeps taking unexpected turns. David Bowie’s ‘Let’s Dance’, Montell Jordan’s ‘This Is How We Do It’ and Corona’s ‘Rhythm of the Night’ all feature in the same episode, while episode five brings in ‘Amber’ by 311. Episode six uses Looking Glass’s yacht-rock classic ‘Brandy (You’re a Fine Girl)’, perfectly suited to a show obsessed with island life, sailors and the sea.

One of the most inspired choices comes in episode eight, when Enya’s ‘Caribbean Blue’ becomes the soundtrack to mayoral assistant Patricia (Kate O’Flynn) cleaning out her closet. What could have been a simple character moment becomes unexpectedly triumphant, with Nagata describing it as her favourite needle drop of the series. The song returns later, underlining how a familiar track can become part of a character’s musical identity rather than simply decorating a scene.

And for a show so steeped in maritime folklore, it’s fitting that the series eventually gets its own sea shanty. ‘The Last Man’, co-written with Neil Casey and performed by Arcade Fire’s Richard Reed Parry, was created specifically for episode seven, adding another layer to the show’s deliberately strange musical world.

Why Does the Music Work?

The genius of the Widow’s Bay soundtrack is that it understands the show’s central contradiction: this is a story about very real supernatural horror that is also extremely funny.

Fleming’s score gives the island genuine menace. His orchestral and atmospheric writing makes the fog feel threatening, the coastline feel isolated and every supernatural encounter feel bigger than the joke surrounding it. The score can move from ‘Moonlight’ and ‘Anxiety’ to ‘The Storm’, ‘Cyclone’ and ‘Tides’, creating a sense of cinematic scale beneath the sitcom-like chaos.

The needle drops, meanwhile, are often deliberately unexpected. Putting ‘Rhythm of the Night’ over an increasingly unhinged party doesn’t just make the scene funnier – it heightens its surrealism. Likewise, ‘I’m So Excited’ or ‘This Is How We Do It’ can establish a carefree mood that becomes increasingly ironic as the supernatural threat closes in.

That contrast is what makes the music feel so distinctive. Widow’s Bay doesn’t simply use music to tell us that something is scary. It uses music to tell us what kind of scary this is: sometimes eerie, sometimes absurd, sometimes genuinely unsettling and occasionally all three at once.

It’s also a lesson in the power of juxtaposition. A track doesn’t have to sound inherently sinister to work in a horror scene. In fact, choosing something bright, nostalgic or completely incongruous can make the images on screen feel even stranger.

What Can Brands and Editors Take From Widow’s Bay?

There’s plenty here for anyone choosing music for film, advertising or branded content.

The first lesson is don’t be afraid of contrast. If your visuals are already dark or dramatic, an obvious ominous track isn’t necessarily the most interesting choice. A brighter or more unexpected piece of music can create tension by working against the picture.

The second is use music to give a world its own identity. From the New England setting to the show’s supernatural folklore, Widow’s Bay has a strong sense of place, and the soundtrack reinforces it without becoming predictable. A carefully chosen combination of orchestral music, atmospheric textures and distinctive songs can do the same for a brand film, campaign or trailer.

And finally, think beyond mood. Music can establish character, period, geography, humour and attitude in seconds. ‘Nantucket Island’ immediately taps into the show’s coastal world. ‘Brandy (You’re a Fine Girl)’ brings a particular kind of maritime nostalgia. ‘Rhythm of the Night’ transforms a party into something surreal. Each track does more than fill silence; it brings additional meaning to the scene. For editors, that’s the real takeaway. The right track shouldn’t simply sit underneath the picture – it should make the picture feel different.

Find Music for What Happens Next

Want to create your own Widow’s Bay-style atmosphere? Explore our playlist hub for cinematic, orchestral and British-flavoured tracks, alongside atmospheric music that’s fully licensed and cleared for global use.

Whether you’re building tension, creating a sense of place or looking for something unexpected to turn a scene on its head, discover music that’s ready to take your story somewhere else.

Discover More

So now you know all about music in Widow’s Bay, why not read more of our expert soundtrack deep-dives including The Music of The Gentlemen Explained, How to Find Music Like the Odyssey Soundtrack for Your Content and Why the Music in Outer Banks works. And don’t miss Audio Network’s guides to selecting music for short-form and long-form content, and how to find music for YouTube videos,  TikTok or Instagram.