How Music Became the Heartbeat of ‘Industry’
📖 Full Retelling
Music supervisor Ollie White and composer Nathan Micay on the songs that drove Season Four’s storytelling — including the explosive finale
Entity Intersection Graph
No entity connections available yet for this article.
Original Source
Sound and Fury How Music Became the Heartbeat of ‘Industry’ Music supervisor Ollie White and composer Nathan Micay on the songs that drove Season Four’s storytelling — including the explosive finale By Cheyenne Roundtree Cheyenne Roundtree Contact Cheyenne Roundtree on X Contact Cheyenne Roundtree by Email View all posts by Cheyenne Roundtree March 1, 2026 This story contains spoilers for the Industry Season Four finale. A Spotify save-worthy soundtrack , epic needle drops, and a euphoric shimmery score set Industry apart when it comes to music on television. The sound of HBO’s buzziest show — which was recently greenlit for a fifth and final season — is as live-wire as the series itself, and Season Four, which concluded tonight, pulled from a more eclectic mix than ever. Its eight episodes featured Eighties anthems like Alphaville’s “Forever Young,” New Order ’s “True Faith” and “Fine Time,” and an Italian disco-style remix of David Bowie’s “Heroes”; dance club classics in Daft Punk’ s “Veridis Quo” and “All On You ” by Paris Angels; plus more current songs from Turnstile . Finance bros turned series co-creators Mickey Down and Konrad Kay lean into the madness of their international banking-set soap with the musical choices, even if some of their most provocative ideas don’t make the final cut. While Ken Leung’s veteran trader Eric Tao walks out of finance and off into leafy suburbia to Judy Collins’ version of Joni Mitchell’s “Both Sides Now” in Episode Six, rights holders denied the request to also use the song in a glory-hole scene earlier in the same episode. Unlike similar shows that tackle worlds of money and power, such as Billions and Succession , Industry has made music its surprising heartbeat, using cultural references to emphasize overarching themes of greed, corruption, and relentless ambition. Aristocrat Henry Muck (Kit Harington) singing “He Is an Englishman” from Gilbert and Sullivan’s opera H.M.S. Pinafore to himself in the shower — and the song la...
Read full article at source