‘Off Campus’ Music Supervisors Amanda Krieg Thomas and Anna Romanoff Used Jennifer Lopez and Billy Idol Songs to Build a Lively Soundtrack

The runaway success of Prime Video's "Off Campus" has highlighted the powerful intersection of music and storytelling. Since its premiere, the adaptation of Elle Kennedy's novels has drawn audiences in, driven significantly by its carefully curated soundtrack. The series, set within the fictional Briar University, follows the relationship between Garrett Graham (Belmont Cameli), a charismatic hockey player, and Hannah Wells (Ella Bright), a music major whose life revolves around song. The show's track selection has generated viral TikTok trends and received praise from high-profile artists like Jennifer Lopez and The Kid Laroi, demonstrating how a thoughtfully assembled playlist can transform a narrative experience.

Music supervisor Amanda Krieg Thomas explains that the soundtrack was built to reflect Hannah's diverse musical knowledge and her authenticity as a college student deeply engaged with music. "Hannah's tastes in the book are wide-ranging, and she lives and breathes music. Nailing a contemporary feel was critical," Krieg Thomas notes. Working alongside co-music coordinator Anna Romanoff, the team compiled a selection spanning from Elton John to the band Beaches, each song chosen to deepen the story. Romanoff adds, "Our aim was to create needle drops that served the narrative, and the reaction has been incredible. We were hoping for maybe one viral moment, but having multiple ones noticed by the artists themselves is beyond anything we imagined." This level of curation reflects a broader industry shift where music supervisors are increasingly central to a show's cultural footprint, often driving streaming numbers and social media conversations. For context, the role of music supervisor has evolved significantly over the past decade, with professionals like Krieg Thomas now acting as key creative partners in production, responsible for everything from licensing negotiations to narrative integration.

Key tracks include Billy Idol's "Dancing with Myself" and a cover by Remi Wolf, which Krieg Thomas says was "always intended to connect Hannah and Garrett." The song bridges Hannah's eclectic preferences with Garrett's classic rock tastes, serving as an emotional anchor for their relationship. The Kid Laroi's "Girls" became an unexpected viral sensation, largely due to Cameli's improvised dance during filming. "Belmont fully committed to that moment, and it stuck," Romanoff recalls. G Flip's "Bed on Fire" was selected for an extended montage, balancing sweet and sensual tones without overwhelming scenes like a lasagna dinner or ice skating. "It's been wonderful to see people rediscovering that album," Romanoff observes. Audrey Hobert's "Sue Me" was a last-minute addition for the end credits, with editors quickly agreeing it fit the narrative. Jennifer Lopez's "On the Floor" was scripted, requiring careful coordination with her team to ensure the scene was portrayed respectfully. "We wanted to guarantee it was a positive depiction," Krieg Thomas explains, noting the sequence has become a fan favorite. G Flip, an Australian singer-songwriter known for genre-blending pop-rock, originally released their album in fall 2023, and the show's use of "Bed on Fire" has sparked a notable surge in streams, illustrating how television placements can give existing releases a second life.

The series' success points to a larger trend in streaming: soundtracks functioning as cultural phenomena. According to media analyst Dr. Sarah Collins, "A well-curated soundtrack can transform a series from mere entertainment into a shared experience, fueling social media engagement and potentially reviving interest in older songs." For "Off Campus," this has meant a resurgence in streams for tracks like G Flip's album, which originally debuted in fall 2023. The show also underscores the growing influence of music supervisors in shaping audience engagement, with Krieg Thomas and Romanoff now receiving inquiries from other productions seeking similar viral outcomes. As streaming platforms increasingly vie for viewer attention, the ability to craft a soundtrack that resonates beyond the screen has become a powerful asset, turning a show into a cultural reference point that extends well beyond its episode runtime. Industry observers note that this trend mirrors the rise of playlist culture on platforms like Spotify, where curated soundtracks often become as popular as the shows themselves, creating a feedback loop between music discovery and television consumption.