{"id":726713,"date":"2026-05-11T05:16:16","date_gmt":"2026-05-11T02:16:16","guid":{"rendered":""},"modified":"2026-05-11T05:16:16","modified_gmt":"2026-05-11T02:16:16","slug":"euphoria-probably-needed-labrinth-after-all","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/euphoria-probably-needed-labrinth-after-all\/","title":{"rendered":"\u2018Euphoria\u2019 Probably Needed Labrinth After All"},"content":{"rendered":"
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\n\tIs Euphoria<\/em> really Euphoria<\/em> without Labrinth? That\u2019s a big question that seems to be plaguing fans\u2019 minds each week in the middle of season three.<\/p>\n

\n\t\u201cIt\u2019s literally a whole different show atp,\u201d one person commente<\/a>d<\/a> on social media<\/a> a day after episode three aired on April 26.<\/p>\n

\n\tAs another viewer weighed in that same day, <\/strong>\u201cI\u2019m just realizing now I haven\u2019t even been paying attention to the music and in past seasons. Like the music plays such a big part but because it\u2019s not his music, it\u2019s so irrelevant.\u201d<\/p>\n

\n\tIt\u2019s not too often that a show\u2019s composer becomes just as recognizable as the project itself thanks to the music, but that\u2019s exactly what happ<\/a>ened to Labrinth after season one of the Sam Levinson-created drama debuted in 2019. The show became a cultural phenomenon not just because of its star-making performances, but also thanks to its eclectic needle drops and the musician\u2019s genre-bending score that helped define the moody, dramatic atmosphere that captured the show\u2019s intense highs and lows.<\/p>\n

\n\tLabrinth\u2019s talents even earned him an Emmy Award for best original music and lyrics for \u201cAll For Us\u201d in season one, in addition to multiple other nominations.<\/p>\n

\n\t\u201cIt\u2019s truly gratifying for me or any artist to hear that their work resonates with people and that they appreciate it,\u201d Labrinth tells The Hollywood Reporter<\/em> of the legacy and impact he had on Euphoria<\/em>\u2018s perception.<\/p>\n

\n\tHowever, he shocked fans at the beginning of April when he announced that he wouldn\u2019t be involved with the new season of Euphoria<\/em>. \u201cPeople will comfortably lie in this industry and still call themselves honest people. So no cap, I decided to remove whatever music I had in it,\u201d he wrote on his Instagram Story regarding why he left the show. \u201cI spoke to HBO, as far as I know, we are cool. I left because, last truth, when I work for someone, their vision is paramount to me, but I don\u2019t let people treat me like shit.\u201d<\/p>\n

\n\tWhile specific details surrounding his reasons for departing the show are still unknown, he later told GQ<\/a><\/em> that he felt like \u201cthe family and the fluidity started to deteriorate, and the creative camaraderie started to dissipate,\u201d which led him to realize, \u201cI know this is done, for me.\u201d<\/p>\n

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\t\t\t\t\tLabrinth performing at Coachella in April 2026.<\/span><\/p>\n

\t\t\t\t\t\t\t\t\tBrianna Bryson\/Getty Images<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tHe wasn\u2019t replaced with just anyone in the industry. Hans Zimmer, one of the most celebrated film composers of all time, had initially joined to collaborate with Labrinth on the show\u2019s music, but when the latter exited right before the season three premiere, Zimmer became the sole composer for the new season.<\/p>\n

\n\tNo one is criticizing Zimmer\u2019s abilities; his credits and accolades speak for themselves. But when a show\u2019s unique tone has already been established, like what Labrinth originated in the first two seasons, a sudden sonic shift to stray away from that sound can cause whiplash for viewers. That\u2019s apparent even in just the first half of season three.<\/p>\n

\n\tKier Lehman is an Emmy-nominated music supervisor who\u2019s worked on dozens of projects across film and TV, including Project Hail Mary,<\/em> Abbott Elementary<\/em>, Insecure<\/em> and Spider-Man: Into the Spider-Vers<\/em>e. He hasn\u2019t watched this season of Euphoria <\/em>and hasn\u2019t followed the discourse around the score for season three, but in an interview with The Hollywood Reporter<\/em>, he did emphasize more broadly the importance of maintaining a consistent sonic identity in a show.<\/p>\n

\n\t\u201cThat\u2019s important, especially in a longer series<\/a>, to establish a sound and themes for characters or themes for situations,\u201d he says. \u201cAnd of course, that\u2019s going to evolve as the series goes on, but I think it\u2019s also really helpful in helping the audience and grounding the audience in the show.\u201d <\/p>\n

\n\tLehman also says that it could be \u201cpretty jarring\u201d for audiences if they don\u2019t receive the sound they expect.<\/p>\n

\n\t\u201cWhen you\u2019re in a third season of a show, you\u2019re pretty much hoping to get more of what you\u2019ve already seen, and you\u2019re wanting to continue on that ride that you\u2019ve been on and you\u2019re excited to get back into it after a break in between seasons,\u201d he adds.<\/p>\n

\n\tAfter each episode airs on Sunday, fans are quick to flood social media with critiques of the respective episode\u2019s music choices. After episode three, fans mocked the song playing when Maddy (Alexa Demie) walked in to Nate (Jacob Elordi) and Cassie\u2019s (Sydney Sweeney) wedding, synced to a whimsical marimba beat in the background. It was a disjointed choice for Maddy, a confident and sharp-tongued character who usually enters a room with a fierce aura. Longtime viewers were likely expecting more dramatic music to fit Maddy\u2019s vibe in that scene. Instead, some compared the track to \u201cUnder the Sea\u201d from The Little Mermaid<\/em>.<\/p>\n

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\n\tEven before episode three, titled \u201cThe Ballad of Paladin,\u201d viewers have been pointing out scenes where they felt it was evident that Labrinth\u2019s music and sound were missing.<\/p>\n

\n\t\u201cWith each episode it becomes clearer that labrinth\u2019s soundtrack did a lot of heavy lifting for euphoria like the cinematography can do it\u2019s part but it\u2019s his music that truly gave every scene it\u2019s emotional weight which is really missing this szn,\u201d one person wrote<\/a> on X. Another user shared<\/a>, \u201c#euphoria has been good, but you can tell that labrinth\u2019s music being missed takes a way a lot of the pulling in during scenes.\u201d<\/p>\n

\n\tThe singer-songwriter even happened to release his own single, \u201cShut Your Damn 95.7892,\u201d the same day season three premiered (he was performing at Coachella that weekend too, so the release was likely timed to his show). After, fans took to TikTok to dub his song into the episode\u2019s scenes to make it feel like the Euphoria <\/em>they\u2019ve grown to know and love.<\/p>\n

\n\tWhen THR<\/em> reached out to HBO about the online discourse, the network declined to comment.<\/p>\n

\n\tThe backlash Levinson\u2019s show is facing over the music just proves that what audiences see on their screens is just as important as what they hear. And when you establish a unique tone for two full seasons, there\u2019s going to be a stark difference that fans notice when that beloved sound is abruptly switched up.<\/p>\n

\n\t\u201cPart of what makes a show really special is having that unique sound that is something that people associate only with that show,\u201d Lehman tells THR<\/em>. \u201cAnd when you hear that show or you think about the music or you hear it in the other room, you know what show it is because that has its own sound. And that\u2019s something that you can get when you have an artist that already has their own voice and their own creative sound that they\u2019ve built, and you can bring that in to use that as a part of the palette of your show.\u201d<\/p>\n<\/div>\n