Prolific composer and producer Jason Nesmith has been tapped to compose the theme for the upcoming Netflix animated series “Stranger Things: Tales from ’85”. Scheduled to premiere on April 23, 2026, the series is developed by Matt and Ross Duffer alongside showrunner Eric Robles. The new story returns to Hawkins during the winter of 1985, exploring new journeys for the original characters—including Eleven, Mike, and Dustin—set between the events of seasons 2 and 3.
Nesmith worked closely with Robles to craft a musical identity that honors the legacy of the original franchise while establishing a fresh sound for this animated world. This high-profile project adds to Nesmith’s extensive portfolio, which includes nearly two decades as a primary composer for The Ellen DeGeneres Show and writing themes for major programs like Extra Entertainment News, TMZ Live, and Teen Titans Go!.
Beyond his work in television scoring and his roots in the 90s Brit-pop scene with the group Nancy Boy, Nesmith remains deeply committed to the arts through The Gihon Foundation. Alongside his siblings, he runs the nonprofit to support musicians, writers, and artists, continuing a rich family heritage that began in the legendary musical landscape of Laurel Canyon. As fans prepare to face new terrors “beneath the ice” in Hawkins, Nesmith’s new theme remains under lock and key until the show’s highly anticipated release.
The “Stranger Things” Universe
The original Stranger Things theme is one of the most iconic in modern television. How did you balance paying homage to that synth-heavy “legacy” sound while establishing a unique “fresh musical identity” for the animated world?
That’s a great question—and yes, that was one of the most challenging parts of the process. I always come back to understanding the unique vision of the show. That’s why I stayed closely aligned with what Eric and the Duffer Brothers wanted this to be.
As a composer, it’s essential to stay in sync with the creators…the directors, producers, and writers. It’s easy to go off in a direction that feels right musically, and sometimes that works, but the real job is serving the story and the vision.
More Read
Unlike the live-action series, Tales from ’85 is set specifically during a snowy Hawkins winter. Did the change in season and the “beneath the ice” setting influence the instruments or textures you chose for the score?
When you’re trying to sonically brand a show, you have to think in the biggest possible terms…the overarching identity of a series that could live across multiple seasons, environments, and evolutions.
So rather than writing something that felt specific to season one, Eric, the team, and I wanted a theme that could travel…something flexible enough to move through all those different iterations of the show.
The goal was that when you hear it, you immediately know: this is Stranger Things: Tales from ’85—not just season one, but the entire world of the series.
You worked closely with show runner Eric Robles on this theme. What was the most challenging part of translating his visual 2D/CG “80s Saturday-morning cartoon” vision into a musical composition?
It’s always challenging as a composer to translate someone else’s vision into music. Music is such a subjective art form…people experience it in deeply personal and individual ways.
Eric and the Duffer Brothers were incredibly clear, though, and gave me a strong sense of direction. Once we found a core idea we all responded to, we were able to refine it…really dialing in every detail.
Theme music is unique in that way. You’re essentially trying to capture the entire run of a show in 10 or 15 seconds…something that can travel with it wherever it goes. And like I said before, the goal is that the moment someone hears it, they know exactly what it is—that it could be nothing else. That’s why it’s put under such a microscope.
But when you get it right, it’s incredibly satisfying. It stops being just music and becomes part of the fabric of the show.
Career & Composition
You’ve transitioned from being in the 90s group Nancy Boy to composing for massive TV franchises like The Ellen DeGeneres Show and TMZ Live. How have your “rock and roll days” experiences shaped the way you approach scoring for television today?
Music has always been a lifelong pursuit for me, and it’s taken many different forms. When I was younger, I played in rock bands and absolutely loved it… I got to travel the world and put out records. It was an incredible experience.
But composing is really where I started. Even as a kid, it wasn’t enough for me to just listen to music… I immediately wanted to create it. I remember noticing that difference between myself and my friends, who were happy just enjoying what they heard. I wanted to understand it, to build it from the ground up.
At a certain point, I felt pulled back to that…to the act of composing itself. That moment of going from silence to creation has always been the most exciting part for me, and then layering, constructing, and shaping something into a finished piece.
The rock ’n’ roll years were an important training ground. I got to explore, succeed, fail, and build a real depth of experience that I still draw on today.
But the funny thing is, just when you think you’ve figured it out, you realize there’s still a lifetime of exploration ahead. There’s always more to learn, and that’s part of what keeps it exciting.
Your credits range from slasher romantic comedy musicals to national commercials for Microsoft Surface. Do you have a specific creative ritual you use to “shift gears” between such wildly different genres?
The idea of diversity has always been at the forefront of how I approach composition. My biggest fear is repetition. If I hear something I’ve written and it reminds me too much of something else I’ve done, I’ll usually scrap it. I’m always pushing to explore new directions, and that often means working across different genres.
People will ask what my favorite type of music is or my favorite artist or piece, and it’s honestly not something I can easily answer. I really do connect with music across a wide range of genres. I’m not saying I love all music, but I do love music from all genres.
That said, I do believe every style has a kind of underlying structure. If I want to write in a particular genre, I try to break it down to its most fundamental elements: what the harmony is doing, how it’s arranged, and what instruments define the sound. Once you understand those building blocks, you can reconstruct something authentic in almost any style.
I’m a big proponent of music theory and education. I know some people feel it can get in the way of instinct or creativity, and that’s completely valid. But for me, it’s the opposite…it gives me more tools. It expands the palette. There’s almost a scientific side to it that I really enjoy.
In 2019, you were one of only eight people chosen for BMI’s Conducting Workshop. How did that formal training change your perspective on the more digital, producer-focused side of your work at JEL Music Group?
Honestly, I’m not sure it changed my perspective all that much. I’ve always felt very connected to orchestral music and have paid close attention to that world. At the same time, I also love working in the digital medium and spend most of my time in my studio.
What the conducting workshop really gave me was a deeper understanding of what conductors actually do. Getting to work with Lucas Richmond was a big part of that…he was incredibly insightful, and it helped me see the orchestra from a completely different vantage point.
The people I met there were also amazing, and some have become close friends to this day.
But the thing that stayed with me most is the physical experience of it…standing in front of a 30-piece orchestra and shaping the music with your hands. There’s something incredibly powerful about that. I’m very grateful I got to experience it, and I hope I get to do it again.
Heritage & Philanthropy
You were raised among legendary musicians and writers in the hills of Laurel Canyon. How did that specific environment influence your decision to start composing even before you fully understood music?
It’s funny… I was just listening to Bill Maher’s podcast this morning, and he was talking with Ziggy Marley about how they grew up. Maher mentioned that his dad was funny and really into politics and the news, and of course he went on to become a politically focused comedian.
It really made me think about how much your environment shapes you. Growing up around musicians, artists, and comedy writers had a huge impact on me. It shaped my personality, my sense of humor, and the kinds of things I’m drawn to…creatively and otherwise. It even influenced the kinds of conversations I enjoy and the people I gravitate toward.
I feel very lucky to have been in Laurel Canyon during that magical stretch of time. It left a lasting imprint on who I am.
You run a nonprofit with your siblings that supports artists across multiple disciplines. Why is it important to you to use your success to fund initiatives like Musicares and Homeboy Industries?
The Gihon Foundation was started in the 1970s by my grandmother, Betty Graham, who invented Liquid Paper. She used part of her success to create the foundation, originally focused on supporting up-and-coming female artists.
When she passed, my father took it over and broadened the mission to include the performing arts more generally. After he passed a few years ago, my three siblings and I inherited the foundation, and we expanded the mission even further.
Today, it’s not just about supporting artists but also about helping people who are struggling…people trying to build a better life for themselves and their families. Organizations like MusiCares and Homeboy Industries are doing incredible work in that space, and we’re proud to support them.
I think if you’re in a position to give back to something you care about, it’s really important to do so.
You’ve mentioned wanting to keep your family’s musical heritage alive for your two children. Is there a specific lesson or piece of advice you received from your “musical tree” that you are now passing down to them?
I started JEL Music Group with my wife back in 2009, and we’ve been building it together ever since. She’s an incredibly talented singer and lyricist, and we’ve collaborated on a wide range of projects over the years.
What’s been especially meaningful is raising our two boys in that environment. They’ve grown up watching their mom and dad create music together…seeing the process, the collaboration, and the work that goes into it. I think that kind of exposure is really valuable.
Hopefully, it shows them that they can pursue whatever they’re passionate about and find success in it. I think the “musical tree” around me was always encouraging me to go after whatever it is I truly enjoy, and that’s something we’re now trying to pass along to our kids.
Future Outlook
What’s Next for JEL Music Group: With the premiere of Tales from ’85 on April 23, 2026, and your upcoming musical feature film with Ahmet Zappa, where do you see your musical evolution heading in the next five years?
I’m really excited about both of the musical features I’m currently working on…one with Ahmet Zappa and another with my partner, Jason Blackman. If I can get those two films made over the next few years, that would be incredibly meaningful for me.
On the Blackman project, I’m serving as both composer and producer, and on the Zappa project, I’m working as a music producer.
At the same time, I’d love to do more dramatic scoring for a series on a platform like Netflix, Amazon, or Hulu. There’s such an incredible wave of storytelling happening right now… I really feel like we’re in a high point for television and film, and it’s exciting to be part of that world.
