We interviewed Ted Lasso composer Tom Howe about his score for season 2 of the hit Apple TV+ show, including new themes for Jamie and Nate.
‘Ted Lasso’ composer Tom Howe on creating the white noise of Ted’s anxiety, the rawness of Jamie’s heart, and the warning of Nate’s descent
Jason gives you the overall arc, the syuzhet for the whole show actually, all the seasons, so you kind of know what’s going to be happening later on, but I knew that Jamie was — even though he was kind of being a bit difficult and a bit of a playboy — that he was actually hurting, and that later on, he was going to have this confrontation with his father, and what else would be coming. So I knew that it had to have a heart, an emotional beat to it, and the piano has just become a sort of key instrument within Ted Lasso, but it’s also the way it’s recorded.
So on that track, the piano is an upright piano, but it’s micced in a way where you hear all the pedal and the movement on the chair, and so it’s got a kind of rawness to it that kind of feels… a sort of realism to it, I suppose, rather than like a sample on a piano. So it’s not a perfect sound, in an intentional way, but I then weave his motif throughout the season, as you say, and used it in different ways, and it’s even in the final cue when he and Roy hug at the end [of the season 2 finale,] you get a little nugget of both their tunes together. - Tom Howe to Subjectify Media
The police walk in and you’re wearing the one on the left. When they tell you he’s dead you gasp daintily, excuse yourself for a moment, then come back in the one on the right.
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