Photo courtesy of Jason Nesmith © www.jasonnesmithmusic.com
In a notable addition to the expanding Stranger Things universe, accomplished composer and producer Jason Nesmith has been brought on to compose the official theme music 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 animated project revisits Hawkins during the winter of 1985 — positioned between Seasons 2 and 3 of the original series. While the immediate threat of the Upside Down appears to be fading, a deeper and more unsettling force begins to emerge beneath the surface, pulling the familiar group of young heroes into another high-stakes mystery.
The series will feature returning characters including Eleven, Mike, Will, Lucas, Dustin, and Max, as they confront new supernatural dangers in a story that expands the emotional and narrative depth of the franchise. Produced by Flying Bark Productions and executive produced by the Duffer Brothers, Shawn Levy, and Eric Robles, the show is designed to retain the spirit of the original while exploring a new animated dimension.
At the center of this new chapter is its musical identity — beginning with the theme.
Working closely with Robles, Jason Nesmith has composed the theme music for the series, crafting a piece that pays homage to the iconic sonic atmosphere of Stranger Things while introducing a fresh tonal direction tailored for its animated format. Importantly, Nesmith’s role is focused specifically on the theme composition, rather than scoring the full series — a distinction that underscores the significance of the opening musical identity in shaping the show’s overall tone.
While the theme itself remains under wraps ahead of release, its role is expected to serve as a defining entry point into this new interpretation of the Stranger Things world.
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 a new vocal dimension to the beloved characters.
Nesmith’s involvement reflects a career built on versatility, consistency, and deep musical instinct. With decades of experience across television, film, and commercial production, he has established himself as a trusted creative force behind some of the industry’s most recognizable soundscapes.
Recent work includes a collaboration with Ahmet Zappa on a musical feature film based on an original concept, featuring songs by Tony-nominated composer Andrew Lippa. He has also composed themes for Extra Entertainment News (2025–26 season) and TMZ Live, while continuing his work on productions such as Teen Titans Go and The Jennifer Hudson Show.
His broader portfolio spans independent films, television movies, and short-form storytelling, including the Sony romantic comedy Holly Slept Over, starring Ron Livingston, Nathalie Emmanuel, and Britt Lower. Across these projects, Nesmith’s compositions consistently balance emotional depth with strong narrative support.
For nearly two decades, he served as one of the primary composers for The Ellen DeGeneres Show, contributing to one of daytime television’s most recognizable musical identities. His extensive list of theme work also includes Anderson Live, CNN New Day, The Tyra Banks Show, Judge Jeanine Pirro, Let’s Ask America, and numerous other broadcast productions.
Beyond television, Nesmith has composed music for national campaigns, including Microsoft Surface commercials since 2013, and has scored documentaries for networks such as History Channel, Discovery Channel, and National Geographic.
His roots in music trace back to his earlier career as a recording artist. Signed by industry legend Seymour Stein to Sire Records, he was a member of the 1990s Britpop group Nancy Boy — an experience that continues to inform his approach to composition today.
Outside of his professional work, Nesmith remains actively engaged in philanthropy through The Gihon Foundation, a nonprofit he operates with his siblings, supporting artists across music, writing, and creative disciplines. The foundation has contributed to organizations including MusiCares and Homeboy Industries.
Through his company, JEL Music Group, Nesmith’s work continues to reach global audiences across television and media platforms on a daily basis.
Reflecting on his creative journey, Nesmith notes:
“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 iconic Laurel Canyon scene, Nesmith’s artistic sensibility was shaped early — and continues to evolve through projects that bridge legacy and innovation.
As Stranger Things Tales from ’85 approaches its debut, Nesmith’s theme composition stands as a crucial first impression — setting the tone for a new chapter while honoring one of modern television’s most recognizable sonic worlds.
Scroll down for the full Jason Nesmith interview:
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.
•••
Jason Nesmith continues to solidify his position as one of the industry’s most dependable and versatile composers, with Stranger Things Tales from ’85 representing a significant addition to his evolving body of work. As the series arrives on Netflix, his music is expected to play a key role in shaping its identity and audience experience.
With a career defined by longevity, adaptability, and creative precision, Nesmith remains a compelling force in modern composition—bridging legacy, innovation, and global storytelling.
To explore more of Jason Nesmith’s work and stay updated on his latest projects, visit his official website at Jason Nesmith Music official website and discover his full catalog through JEL Music Group official website.
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