Acclaimed Composer Jason Nesmith to Lead Music for Stranger Things Tales from ’85 Animated Series
With Netflix expanding the Stranger Things universe into animation, the upcoming Stranger Things Tales from ’85 marks a bold new chapter for the global phenomenon. At the center of this evolution is composer and producer Jason Nesmith, whose musical vision is set to redefine the sonic identity of Hawkins once again—bridging nostalgia with a fresh, immersive soundscape for a new generation of storytelling.
In a compelling addition to the ever-expanding Stranger Things universe, acclaimed composer and producer Jason Nesmith has been tapped to create the original theme for Netflix’s upcoming animated series Stranger Things Tales from ’85, set to premiere globally on April 23, 2026.
Developed by series creators Matt and Ross Duffer alongside showrunner Eric Robles, the new animated installment revisits the beloved town of Hawkins during the winter of 1985 — strategically positioned between Seasons 2 and 3 of the original series. While the immediate threats of the Upside Down appear to have subsided, a darker force quietly stirs beneath the frozen surface, setting the stage for a fresh chapter of suspense, mystery, and supernatural danger.
The series brings back fan-favorite characters — Eleven, Mike, Will, Lucas, Dustin, and Max — as they confront new and unearthly adversaries. Produced by Flying Bark Productions and executive produced by the Duffer Brothers, Shawn Levy, and Eric Robles, the show aims to preserve the emotional core of the original while exploring new visual and narrative dimensions through animation.
At the center of this evolution is Jason Nesmith’s musical vision.
Working closely with Robles, Nesmith has crafted a theme that both honors the iconic sonic identity of Stranger Things and introduces a distinct musical language tailored for the animated format. While details of the score remain tightly under wraps, anticipation is already building around how the music will redefine the atmosphere for this new chapter.
The voice cast includes Brooklyn Davey Norstedt (Eleven), Jolie Hoang-Rappaport (Max), Luca Diaz (Mike), Elisha “EJ” Williams (Lucas), Braxton Quinney (Dustin), Ben Plessala (Will), and Brett Gipson (Hopper), bringing renewed energy to the familiar ensemble.
Nesmith’s involvement comes as no surprise to those familiar with his extensive and versatile career. A seasoned composer with decades of experience across television, film, and commercial music, he has recently collaborated with Ahmet Zappa on a musical feature film built around an original concept, with songs by Tony-nominated composer Andrew Lippa. His recent credits also include theme compositions for Extra Entertainment News (2025–26 season) and TMZ Live, as well as ongoing work on Teen Titans Go and The Jennifer Hudson Show.
His portfolio extends far beyond mainstream television. Nesmith has scored numerous independent films, television movies, and short projects, including the Sony romantic comedy Holly Slept Over, starring Ron Livingston, Nathalie Emmanuel, and Britt Lower. His storytelling through music consistently demonstrates a balance between emotional nuance and commercial appeal.
For nearly two decades, Nesmith served as one of the primary composers for The Ellen DeGeneres Show, contributing to one of television’s most recognizable daytime soundscapes. His long list of theme compositions includes Anderson Live, CNN New Day, The Tyra Banks Show, Judge Jeanine Pirro, Let’s Ask America, and many others — a testament to both his adaptability and enduring industry relevance.
His work has also extended into advertising and documentary scoring, including national campaigns for the Microsoft Surface line since 2013, as well as projects for networks such as History Channel, Discovery Channel, and National Geographic.
Before establishing himself as a prolific composer, Nesmith’s roots were firmly planted in the music scene. He was signed by legendary executive Seymour Stein to Sire Records as part of the 1990s Britpop band Nancy Boy, reflecting a lifelong connection to both performance and composition.
Beyond his professional achievements, Nesmith is equally committed to philanthropy. Through The Gihon Foundation, a nonprofit he runs alongside his siblings, he actively supports musicians, writers, and artists across disciplines. The foundation has contributed to organizations including MusiCares and Homeboy Industries, reinforcing his dedication to creative communities.
Operating under his company, JEL Music Group, Nesmith’s work continues to reach global audiences daily across syndicated television and media platforms.
Reflecting on his creative journey, Nesmith shares:
“The first time I can remember hearing music, I thought, I want to make that. Even before I fully understood it, I was already trying to compose. Writing the theme for Stranger Things Tales from ’85 was particularly exciting because the music helps define the atmosphere and identity of the show.”
Raised among legendary musicians and writers in the culturally rich hills of Laurel Canyon, Nesmith’s artistic foundation was shaped early — and it continues to resonate through every project he undertakes.
As Stranger Things Tales from ’85 prepares to debut, Jason Nesmith’s score stands poised to become a defining element of its identity — bridging nostalgia with innovation, and further cementing his legacy as one of the industry’s most consistent and quietly influential composers.
With a career that spans television, film, commercial music, and long-running entertainment franchises, Jason Nesmith has built a body of work defined by range, discipline, and an instinctive understanding of how music shapes storytelling. His latest contribution to Stranger Things Tales from ’85 adds yet another notable chapter to that legacy, placing him at the center of one of contemporary entertainment’s most closely watched franchises.
Yet beyond the credits and accomplishments is a composer whose perspective has been shaped by deep musical roots, years of creative evolution, and a lasting respect for craft. In the following conversation, Nesmith reflects on the family influences that first guided him toward music, the discipline required to sustain a long-term career in composition, and the creative challenge of developing a new theme for a world as iconic as Stranger Things. He also speaks candidly about artistic growth, longevity in the industry, and the values that continue to guide both his work and his life.
Q&A with Jason Nesmith
1. How has your family inspired you as a musician?
JN: My mom always had records around the house like The Beatles, The Rolling Stones, Bob Dylan, Crosby, Stills & Nash, and The Beach Boys. Also, a lot of musicals like My Fair Lady, Grease, and West Side Story—stuff like that. My dad had a very wide variety of tastes. I was exposed to a lot of the classics and blues, like Robert Johnson, Muddy Waters, B.B. King, Howlin’ Wolf, and John Lee Hooker. He also loved country music and artists like Ella Fitzgerald, Ray Charles, Aretha Franklin, and Etta James.
2. What do the next 5 years look like musically?
JN: I have just finished writing a musical feature film with a partner I worked with for years on The Ellen DeGeneres Show. So, I hope to be making that film and would love to do some scoring on series for Netflix and Amazon, etc.
3. Where do you get your ideas for subject matter for your project development?
JN: Just look around—there is literally material everywhere.
4. What charities are you aligned with and why?
JN: I run a foundation called the Gihon Foundation with my three siblings. The foundation supports the arts. We recently donated to Homeboy Industries and the MusiCares Foundation.
5. What music projects will you be involved with in the future?
JN: I just recently wrote the theme for the new animated series on Netflix called Stranger Things: Tales from ’85. I hope to stay involved with that show, and of course I will continue with Extra, TMZ Live, The Jennifer Hudson Show, and Teen Titans Go! all of which I currently compose for—and two of which I have rewritten the themes for.
6. Who are your biggest influences?
JN: I would say my biggest influences are all over the map—from classical composers like Vivaldi, Bartók, Grieg, Mahler, and Debussy, to film composers like Jerry Goldsmith, James Newton Howard, and Gustavo Santaolalla, Michael Giacchino, Bernard Herrmann, Ennio Morricone, Henry Mancini. Then all the classic musicians and bands like Pink Floyd, Black Sabbath, Crosby, Stills, Nash & Young, The Beatles, Jimi Hendrix, The Rolling Stones, Bob Dylan, and Simon & Garfunkel.
7. What advice would you give to a recording artist or composer starting out?
JN: Learn to work across many genres and be able to compose in many styles. That gives you the best chance, because music supervisors, directors, and producers are always looking for different kinds of music. If you stay in one lane, it limits what you’ll be able to do dramatically.
8. Talk about your training in your early career—who have you trained with and why?
JN: I started playing guitar at a very young age and studied with local teachers, learning all the stuff a young kid wants to learn—Beatles, etc. I then moved on to classical guitar, which was a love of mine from my earliest memories, and studied with a classical guitarist named Jack Sanders. From there, I went on to study music theory, classical composition, and arranging on my own. Setting my sights on attending a music college, I went to Berklee College of Music in Boston for one year before leaving to pursue my career.
9. How do you take care of yourself—your health regimen?
JN: My health regimen is very straightforward. I try to eat as clean as I can. I go to the gym two to three times a week and try to walk or exercise a little every day.
10. Talk about your music on your current projects.
JN: My most recent project is Stranger Things: Tales from ’85, and the theme music on that was a very challenging exercise. I worked closely with Eric Robles, Dan Cohen, and John McGrew at Netflix. We were tasked with creating a new recognizable opening theme for a franchise that already had a very recognizable theme. We wanted to honor the original theme, which is amazing, while also bringing a new piece of music to represent this new take on an incredibly successful worldwide franchise.
11. Who are your favorite composers right now and why?
JN: Some modern-day composers I love right now are Chris Bowers, Teddy Shapiro, and Ramin Djawadi. I think these guys are bringing new and interesting hybrid scores to today’s shows. I like the use of orchestral instruments blended with different types of percussive and synthetic elements—it creates a very unique and compelling sonic environment.
12. When did you know you wanted to be a composer?
JN: I feel like I knew from a very early age. One of the things that fascinated me most about music was how it was made; and I was almost instantly compelled to try to figure it out. The minute I had five chords on the guitar; I started writing chord progressions. I would play them back on my cassette player and then play melodies over them—either on piano or guitar. Even though I didn’t fully understand it at the time, I loved what I was hearing harmonically. It was exciting when it worked and frustrating when it didn’t. I would work hard to improve it, and I could focus in a way that took me out of everyday life.
13. What types of music would you like to work on in the future?
JN: I really love film and TV scoring—that’s my favorite type of music. A very close second would be concert music for orchestra. The level of sophistication in those genres allows you to do so much with harmony and layering—it feels endless to me.
14. What do you do to relax?
JN: My absolute favorite thing to do when I’m not working on music is to go fishing with my two boys. It’s a completely different world—very relaxing and very exciting at the same time.
15. What would you be doing if you were not a composer?
JN: I think if I wasn’t a composer, I would probably work in finance. I know that’s a completely different world from where I’ve lived my whole life, so maybe I’m wrong, but it seems interesting to me. There are so many different avenues one can explore.
16. What are your first steps in creating new music?
JN: When I sit down to create music, it always comes from a slightly different place. Sometimes it starts with a chord progression, sometimes with a melody, and sometimes with rhythm. When something pops into my head, I try to get to the piano as quickly as I can. It feels like a signal from somewhere telling me to go and write at that moment. A lot of times I don’t hear anything specific—I just sit down and start playing. Often, something emerges that I like, and that sets me on a particular path.
17. How do you overcome challenges in your career?
JN: I learned at a very young age that there will be challenges at almost every turn. For every 30 opportunities you pursue, you might get one—that’s a tough ratio. There’s a lot of rejection and criticism. For me, I just love doing it, so I keep coming back regardless of success or failure—both of which I’ve experienced plenty of.
18. Is there anything in your career that you wish you could do again?
JN: I wish that in my 20s I had taken my career more seriously. I think there were missed opportunities, especially in the bands that I was in. It was a fun time—being in a rock band, touring the world—but there were distractions. If I could do it again, I would focus more on the craft and less on the extracurriculars.
19. What are your hobbies?
JN: Fishing, reading, working out, and swimming in the ocean.
20. What is your fondest memory as a child with your family?
JN: I don’t have one single memory that sums it all up, but I had a wonderful childhood. My mother was one of the greatest moms you could ask for. My dad wasn’t around when I was young; but he became another wonderful influence in my life when I got to know him later.
21. How have you grown musically in the last 10 years?
JN: When I’m not working on a project, I’m either writing for, practicing, or studying music—often through online courses. I’ve completed many and continue to educate myself. I believe you should never stop learning. With music, it’s a lifelong pursuit.
22. How do you get your jobs composing?
JN: It really comes down to relationships. It’s important to build trust and be reliable. When you do get a job, deliver your best work—because second chances are rare. If people can count on you, they’ll keep coming back. That’s been my experience.
23. How do you see singer/songwriters/composers changing in the future?
JN: I can’t say exactly how it will change, but it definitely will. Music has gone through many evolutions and will continue to do so. For me, it’s important to stay current with technology and integrate it into my work.
24. Do you have a mentor?
JN: Yes, I would say my mentor right now is Adam Schoenberg—he may not even know it, but he is. He’s a very prolific American concert composer.
25. What’s it like to work on the new Stranger Things: Tales from ’85 show?
JN: It was thrilling and exciting—but also intimidating. Even after 20 years of composing professionally, this project carried unique pressure because of how beloved the franchise is. Writing music to define the animated series required careful thought. Eric Robles was incredibly helpful—we had many discussions that guided the direction. His feedback was invaluable when I sat down to compose.
26. What are your strengths as a composer?
JN: It’s hard for me to say, but one strength is listening. As a media composer, you’re helping bring someone else’s vision to life. You can have your own ideas, but it’s crucial to understand what’s needed.
27. What was the last live show you went to?
JN: AJR at the Hollywood Bowl—they were amazing.
28. Talk about all the different instruments you play.
JN: Guitar, piano, bass, and a bit of percussion. I’m not much of a virtuoso—I prefer to bring in great players.
29. How do you balance your music and your family?
JN: I made a decision years ago not to become a workaholic. I try to keep a schedule similar to a regular job—Monday through Friday, daytime hours—and avoid nights and weekends when possible.
30. How do you maintain longevity in this business?
JN: Keep growing, avoid repetition, and treat people well. Being kind and professional matters, just as much as skill.
31. How do you stay relevant?
JN: Learn, practice, repeat.
32. What was it like hearing your music on a show for the first time?
JN: It was unforgettable. It was on Celebrity Justice, a dramatic hip-hop cue during a real-life moment. Hearing my music in that context was incredibly exciting.
For a deeper look into Jason Nesmith’s musical portfolio and ongoing projects, explore his official platform at Jason Nesmith Music official website and his production company at JEL Music Group official website, where his work continues to reach audiences worldwide.
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