\t\t\tThe night Euphoria season 2 premiered on HBO, music supervisor Jen Malone felt seen. Because as viewers were reacting to plot twists, conflicts, and outfits in episode 1, they were also tweeting about the song choices\u2014nearly 40 of them\u2014with the same enthusiasm. \u201cThe memes were amazing. And so right-on,\u201d she tells ELLE.com, laughing. Malone estimates that there were 37 songs\u2014\u201cor something crazy, I lost count\u201d\u2014in season 2 episode 1, far surpassing the season 1 record of 25 to 27 songs per episode. There\u2019s much more sourced music this time around (in addition to new pieces of original score by Labrinth), and song choices span genres and decades, from jazz to \u201880s pop, from 2Pac to Judy Garland. Assembling such a tracklist was no small feat.
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Working with hundreds of songs, the Euphoria team faced an intriguing challenge: Maintain \u201cthat Euphoria feel,\u201d Malone explains, but without repeating the musical choices they’d made in the first season. As with all things Euphoria, the soundtrack starts with showrunner Sam Levinson. Often he\u2019ll write song choices directly into the script \u201cbecause when he’s writing, he listens to music, and music is just so important to him anyway,\u201d Malone says. His picks then become \u201ca blueprint of what he was thinking for either the episode or the scene.\u201d Malone also worked closely with the film editors, who have \u201csuch incredible taste,\u201d to further build a repertoire. \u201cWe do work really, really, really hard on the show\u2014myself and my team of amazing women, and then our editors are just brilliant, and then obviously Sam, just having this vision that we get to be a part of,\u201d Malone says. As for whether the show will include any songs by Dominic Fike, the musician playing Elliot this season, Malone teases: \u201cNo spoilers.\u201d Below, we\u2019re rounding up every single song from season 2, with added commentary from Malone. Check back as each episode drops for more tracks. Episode 4\u201cI\u2019ll Be Here in the Morning\u201d by Townes Van Zandt
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\u201cSometimes I Feel Like a Motherless Child\u201d by Mahalia Jackson
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\u201cDevil Inside\u201d by INXS
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\u201cI Was Dancing in the Lesbian Bar\u201d by Jonathan Richman
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\u201cThis Is How We Do It\u201d by Montell Jordan
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\u201ctrademark usa\u201d by Baby Keem
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\u201cHeartbeat\u201d by Red 7
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\u201cVitamin C\u201d by Can
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\u201cBailala\u201d by Chika Di
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\u201cDon\u2019t Cha\u201d by Pussycat Dolls
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\u201cNew Sensation\u201d by INXS
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\u201cMethod of Modern Love\u2019 by Daryl Hall & John Oates
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\u201cDrink Before the War\u201d by Sin\u00e9ad O\u2019Connor
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This song, which plays when Cal returns to in the bar from his youth and Cassie is breaking down at Maddy’s party, was scripted in by Levinson. Luckily, Malone was such a big O\u2019Connor fan that it was a \u201cmoment of synergy.\u201d \u201cIt’s one of my favorite moments in the show by far,\u201d she says. \u201cIt is so emotional. When Cal is dancing with the guy in the bar and the guy transforms into Derek and he says, \u2018I thought I lost you,\u2019 it\u2019s like, oh my God, I can’t believe I’m feeling for this monster.\u201d She adds, \u201cIt was breathtaking, there was no other song that could possibly be put in this scene.\u201d \u201cLove Like This\u201d by Faith Evans
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\u201cTrue\u201d by Spandau Ballet
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\u201cLife at the Outpost\u201d by SKATT BROS
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\u201cNeed You Tonight\u201d by INXS
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Labrinth\u2019s Church Scene
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When Rue gets high in one scene, she imagines walking into a church where Labrinth, the musician who\u2019s been composing Euphoria\u2019s original score, is singing powerfully at the altar. The song isn\u2019t streaming yet, but it\u2019s an original he wrote for this episode. Funnily enough, Labrinth wasn\u2019t always supposed to appear on screen. \u201cOriginally, it was scripted in just as a gospel singer,\u201d Malone explains. \u201cAnd there was just a lot of discussions about what we were gonna do with this\u2014that was one of the last scenes that we shot and [our shooting] schedule\u2019s kind of all over the place. \u201cBut obviously Lab was totally game and he just wrote this insane, beautiful song that\u2019s just very Labrinth, which means, very much Euphoria. And we were all on set that day and it was very moving for everybody, not [only] for the crew, but also all of the extras in the church. It was one of those special moments.\u201d Episode 3\u201cMystify\u201d by INXS
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Season 2, episode 3 \u201cis by far one of my favorite episodes of television, especially with [its] music because the New Wave, late \u201980s, early \u201990s is my jam right now,\u201d Malone says. If you’re watching a scene with Cal, Nate’s dad, you’re likely to catch a hit from this era in the background\u2014in particular, songs from INXS, which would be \u201csuch a prominent musical voice\u201d for the young version of the character. Malone says she collaborated with Euphoria editors Laura Zempel and Julio C. Perez IV to create the retro feel of Young Cal’s scenes. \u201cI would make bins of songs that I think would work in this whole thing, because there’s a lot of it, and then Laura would just kind of play, putting them up to picture and just really finding the right one,\u201d she says. \u201cThe Look\u201d by Roxette
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\u201cChains of Love (Remix)\u201d by Erasure
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\u201cLips Like Sugar\u201d by Echo & The Bunnymen
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\u201cShe Sells Sanctuary\u201d by The Cult
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\u201cIt Ain’t Over ‘Til It’s Over\u201d by Lenny Kravitz
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\u201cI Can Dream About You\u201d by Dan Hartman
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\u201cNever Tear Us Apart\u201d by INXS
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\u201cCall Me Irresponsible\u201d by Bobby Darin
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\u201cEffigy (I Am Not An)\u201d by Ministry
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Malone took particular pleasure in sourcing unexpected tracks from Roxette, Dan Hartman, and even early-era Ministry. \u201cIt’s such a short spot, but it was like, I’ve always wanted to put in one of Ministry’s earliest songs that now sounds nothing like it,\u201d she says. She adds, \u201cAs a music supervisor, when the genre that the director wants to go in, or that the showrunner wants to go in, happens to be like your favorite music? It’s a gift.\u201d\u201cComo La Flor\u201d by Selena
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\u201cEmotions\u201d by Brenda Lee
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\u201cGangsta Nation\u201d by Westside Connection feat. Nate Dogg
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\u201cIf\u201d by Jo Stafford
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\u201cWatercolor Eyes\u201d by Lana Del Rey
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A brand new song from Lana Del Rey debuts in the episode 3 credits. \u201cThat happened through our label partner, Interscope Records, and them having songs that are unreleased that are potential soundtrack,\u201d Malone explains. \u201cWe work very closely with them. So they brought this to us.\u201dEpisode 2\u201cLive or Die\u201d by Noah Cyrus & Lil Xan
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\u201cCome Rain or Come Shine\u201d by Judy Garland
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This song by Judy Garland plays in a fun montage where Maddy is trying on her babysitting client\u2019s clothes. There were a number of musical options tossed around for that scene, Malone says, but the team ultimately went with a track chosen by Euphoria editor Aaron Butler. \u201cMaddy can sometimes be a hard character to pin down [musically], because we don’t want it to be just all aggressive and, like, anger-fueled,\u201d she says. In this instance, the crew went with a tribute to Old Hollywood glamour instead. \u201cDo What You Want, Be What You Are\u201d by Hall & Oates
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\u201cOutlast\u201d by Mello Music Group, Dueling Experts, Joell Ortiz, Apollo Brown
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\u201cHaunted\u201d by Laura Les
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\u201cRight Down the Line\u201d by Gerry Rafferty
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\u201cShe Brings the Rain\u201d by Can
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\u201cReturn of the Mack\u201d by Mark Morrison
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\u201cBlue Monk\u201d by Thelonious Monk & Percy Heat & Art BlakeyThe song Ali plays for Rue in the car when he drives her home was chosen by Levinson and written into the script. The jazz influence of Malcolm & Marie, which he directed and Malone also worked on, was evident here. \u201cWe did use a lot of that jazz in Malcolm & Marie, which I think was kind of cool,\u201d Malone says. \u201cBut that was something that was scripted in from day one. That’s Sam. And obviously…having that music is just so perfect for Ali and to have him kind of be introducing it to Rue.\u201d\u201cUnderstand Me\u201d by Labrinth
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Episode 1\u201cDon’t Be Cruel\u201d by Billy SwanThe first episode of season 2 \u201cwill always hold a special place in my heart because it’s very much a victory of keeping on, of clearing all that music,\u201d Malone says. The breadth of songs is evident even in the first few minutes of the episode, where Fez\u2019s grandmother\u2019s backstory is introduced in what feels like its own short film. Those scenes posed a challenge, especially when it came to working with older music. \u201cWe did use a lot of catalog music, so you’re dealing with estates and their legacies,\u201d Malone explains. \u201cIt was tough to get approvals for that first song.\u201d When a Billy Swan song surfaced as an option, Malone had to work with Elvis Presley\u2019s estate to get approval to use it. \u201cWe\u2019re just really excited that that they were open because it’s a very, very, very dicey scene,\u201d she says, hinting to the nudity, sex, drugs, violence, and guns in the opening sequence. \u201cLook at Grandma\u201d by Bo Diddley
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\u201cJump into the Fire\u201d by Harry Nilsson
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\u201cThink (Instrumental)\u201d by Curtis Mayfield
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\u201cHyperbolicsyllabicsesquedalymistic\u201d by Isaac Hayes
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\u201cI Want Action\u201d by Poison
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\u201cI Walk on Gilded Splinters\u201d by Johnny Jenkins
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\u201cWho Am I\u201d by The O’Jays
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\u201cHit \u2018Em Up\u201d by 2Pac feat. OutlawzRue raps this song word-for-word in the car with Fez and Ash, which was a treat for older viewers but raised questions about whether today\u2019s high schoolers are really listening to gems from the \u201990s.When asked why the music team chose to highlight 2Pac as opposed to, say, Roddy Ricch, Malone says, \u201cIt’s really all about Sam and his vision and what he wants the musical palette to be. And then my job as a music supervisor is to help realize that. So he definitely wanted the 2Pac [song], and then it was my job to work with the Tupac [Shakur] estate, who are really aware of how they want his music used, and the type of scene, and what that song is, what that song is doing in the scene.\u201d The estate was \u201cabsolutely lovely and supportive, and they love Zendaya, and [Euphoria] was something that he would’ve wanted his music to be a part of,\u201d Malone adds. But from the start, \u201cthat’s what song [Levinson] wanted Rue to be singing in that scene.\u201d\u201cRight Down the Line\u201d by Gerry Rafferty
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\u201cDirty Work\u201d by Steely Dan
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\u201cHypnotize\u201d by The Notorious B.I.G.
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\u201cWho’s That\u201d by Virus Syndicate feat. Broad Rush
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\u201cNate Growing Up\u201d by Labrinth
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\u201cDead of Night\u201d by Orville Peck
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\u201cRunway\u201d by Blaq Tuxedo
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\u201cBack That Azz Up\u201d by Juvenile
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\u201cMr. Bangbadaboom\u201d by Thrillah
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\u201cDIRT\u201d by B.o.B.
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\u201cParty Up\u201d by DMX
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\u201cMadonna\u201d by Tarik
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\u201cBlow the Whistle\u201d by TOO $HORT
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The late \u201990s, early-aughts hip-hop playlist at the New Year\u2019s Eve party was also, of course, influenced by Levinson. \u201cHis vision was to have this, you know, more old-school sound in the show because\u2026it\u2019s a lot of his favorite music and our favorite music and the music that we grew up on,\u201d Malone says. \u201c(I Just) Died in Your Arms\u201d by Cutting Crew
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\t\t\t\t\t\t\t\tErica Gonzales
\n\t\t\t\t\t\t\t\t\t\tErica Gonzales is the Senior Culture Editor at ELLE.com, where she oversees coverage on TV, movies, music, books, and more.<\/p>\n
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