One person posted on social media the day after episode three aired on April 26, saying, “It's literally a whole different show.”
It's rare for a show's composer to become as well-known as the show itself, but Labrinth became a big part of Euphoria's identity after the first season in 2019.
The show became huge not just because of the acting, but also because of the music. Labrinth's unique style helped set the show's mood, making it feel intense and emotional.
He even won an Emmy for his song “All For Us” in season one and was nominated for many others.
Labrinth said in an interview with The Hollywood Reporter that it's rewarding for him to know his work connects with people.
But in early April, he shocked fans by saying he wouldn't be part of the new season of Euphoria.
He posted on Instagram explaining his decision, saying, “People lie in this industry and still call themselves honest. So no cap, I decided to remove whatever music I had in it.” He mentioned that he talked to HBO and everything was fine, but he left because he didn't want to be treated poorly.
While the exact reasons for his exit aren't clear, he told GQ that he felt the team's family feel and creative energy were fading, and he realized, “I know this is done, for me.”
He wasn't replaced by just anyone.
Hans Zimmer, a famous film composer, was originally supposed to work with Labrinth, but when Labrinth left before the season three premiere, Zimmer became the sole composer for the new season.
Everyone agrees Zimmer is talented, but when a show has a specific sound, like Labrinth's, a sudden change can be confusing for viewers.
That's already been noticed in the first half of season three.
Kier Lehman, a music supervisor who's worked on many TV shows and films, said it's important for a show to have a consistent sound, especially in longer series.
It helps the audience feel connected and grounded.
He also said if the music doesn't match what fans expect, it can be unsettling.
After each episode of Euphoria, fans rush to social media to talk about the music.
After episode three, some criticized the choice of a playful marimba track during a scene with Maddy, Nate, and Cassie. The music didn't match the character's vibe, and some compared it to “Under the Sea” from The Little Mermaid.
Even before episode three, viewers noticed the absence of Labrinth's music.
One person wrote, “With each episode it becomes clearer that Labrinth's soundtrack did a lot of heavy lifting for Euphoria.
It's part of the cinematography, but it's his music that truly gave every scene its emotional weight, which is really missing this season.” Another said, “#Euphoria has been good, but you can tell that Labrinth's music being missed takes away a lot of the pulling in during scenes.”
Labrinth also released his own song, “Shut Your Damn 95.7892,” the same day season three premiered.
Fans used TikTok to replace the show's music with his song to make it feel more like the Euphoria they love.
When The Hollywood Reporter asked HBO about the online reactions, the network didn't respond.
The reaction to the music shows that what people see and hear on screen are both important.
When you build a unique tone over two seasons, fans will notice the difference if that sound changes suddenly.
Lehman tells THR, "Part of what makes a show really special is having that unique sound that people only think of when they think of that show. When you hear the music or think about it, you immediately know which show it is because it has its own special sound. This kind of sound is possible when you have an artist who already has their own voice and creative style. You can use that as part of your show's overall feel and sound."
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