Labrinth Explains Why His Music Isn’t Part of ‘Euphoria’ Season 3: ‘I Don’t Let People Treat Me Like S—’

Labrinth, the composer whose innovative sound became synonymous with the early seasons of HBO's "Euphoria," has officially confirmed his exit from the series' third season. In a candid social media statement, he revealed he chose to withdraw his musical contributions. "People in this business will lie with ease and still see themselves as truthful," he posted. "So, to be completely honest, I opted to pull any music I had prepared." The artist stressed that while he deeply respects a collaborator's creative vision, he will not accept disrespectful conduct, noting his discussions with the network concluded amicably.

This clarification arrives after comments from showrunner Sam Levinson, who recently acknowledged Labrinth's pivotal role in crafting the show's initial audio landscape. Levinson indicated, however, that the story's five-year time jump beyond high school necessitated a new musical approach. "The pop sensibility has receded," he explained, pointing to a move away from curated song placements toward a more traditional, score-driven sound. This strategic pivot is embodied by the recruitment of Hans Zimmer, the legendary film composer behind scores for *Gladiator* and *Inception*, who will receive sole composer credit for the upcoming season's score. Zimmer's involvement signals a definitive shift toward grand, cinematic orchestration, a stark contrast to Labrinth's genre-blending electronic and R&B foundations.

Labrinth's current, measured explanation provides necessary background for a far more incendiary post he made last month, which read, "I'm done with this industry. Fuck Columbia. Double fuck 'Euphoria.' I'm out." Such public venting underscores the frequent, behind-the-scenes friction that can erupt when a television series undergoes a significant creative overhaul. Industry observers note that foundational artists are sometimes marginalized when a project's direction changes, a recurring challenge in entertainment where early sonic identities become deeply tied to a show's success. As one veteran music supervisor noted, "The sound establishes the soul of a series. When that evolves, the original architect can feel their contribution is being rewritten, not built upon."

Regardless of the parting, Labrinth's impact on "Euphoria" is indelible. His work on the score and soundtrack, featuring streaming giants like "All for Us" and "Mount Everest," propelled the show's music to cultural phenomenon status. The track "Never Felt So Alone," featuring Billie Eilish, even secured a Grammy nomination, highlighting the soundtrack's reach beyond the screen. His departure concludes a defining chapter for the series' audio identity. Meanwhile, Labrinth continues to command the spotlight, with a scheduled performance at the Coachella Valley Music and Arts Festival this weekend affirming his standalone stature in the industry.