The Democratization of Cinematic Soundscapes
The traditional pipeline for film scoring has long been guarded by a minor circle of established composers and high-powered agents. Yet, a shift is occurring toward a more organic, discovery-based model. The recent collaboration between director Michael Sarnoski and folk artist Jim Ghedi for the A24 production The Death of Robin Hood exemplifies this trend.
Instead of relying on industry referrals, Sarnoski discovered Ghedi via Instagram, drawn to the raw energy of Ghedi’s 2025 album, Wasteland. This represents a broader move toward “hyper-local” talent scouting, where directors seek out niche artists who possess a specific, authentic sonic identity that cannot be manufactured in a studio.
As streaming platforms and social algorithms surface more “apocalyptic folk” and experimental sounds, the industry is likely to see more “outsider” artists—those from DIY scenes—taking the helm of major soundtracks. This shift brings a visceral, unpolished quality to cinema that resonates with modern audiences craving authenticity.
Genre Collision: The Rise of ‘Apocalyptic Folk’
We are seeing a significant trend in the blurring of lines between traditionally disparate genres. Jim Ghedi’s work is a prime example, blending the dextrous guitar playing of Bert Jansch with the lyrical influence of hip-hop and punk. Ghedi notes that folk, hip-hop, and grime all share a common thread: they are music for and from working people.
This “genre-blind” approach to composition is becoming a staple in modern thrillers and dramas. By combining “doomy, earthy” folk elements with orchestrated arrangements, composers can evoke a sense of societal collapse and “societal rot,” moving away from the “pretty” acoustic sounds of the past toward something more aggressive and heavy.
Future trends suggest a continued lean into “folk-horror” or “folk-thriller” aesthetics, where traditional songs are used as allegories for contemporary issues. Ghedi’s single The Hungry Child, based on a German poem, demonstrates how historical material can be repurposed to comment on modern government failures and class disparity.
Breaking the Class Ceiling in Creative Industries
The creative arts, particularly the folk scene and high-end film production, have historically been dominated by the middle and upper classes. There is a growing movement to reclaim these spaces for working-class voices, ensuring that the “voice of the people” is not just a theme in the music, but a reality in the credits.
The struggle with “impostor syndrome” is a recurring theme for artists entering these high-budget environments. However, the success of artists who remain rooted in their origins—refusing to “assimilate” into the industry norm—is creating a new blueprint for success. By owning their background and staying connected to the DIY scene, artists can maintain a level of creative integrity that is highly valued by visionary directors.
As the economic climate makes it harder for independent artists to sustain their practice, the industry may see a rise in collaborative, community-funded models or a stronger push for diversity in socioeconomic backgrounds within production teams.
Decentralized Production: The End of the Hub Model
For decades, the narrative for any artist landing a “big break” was an immediate move to Los Angeles or London. That paradigm is shifting. Ghedi’s decision to work on The Death of Robin Hood from Sheffield, rather than relocating to LA, signals a move toward decentralized creativity.
With high-speed digital collaboration and a growing desire for artists to remain connected to their local environments, the “hub model” is losing its grip. This allows artists to draw direct inspiration from their surroundings—such as the landscapes and pubs of Northern England—which inevitably bleeds into the texture of the music.
This trend is likely to expand as more production houses embrace remote workflows, allowing for a more global and diverse array of sounds to enter the cinematic mainstream without stripping the artist of their local context.
Frequently Asked Questions
What is ‘Apocalyptic Folk’?
It is a style of folk music that reflects themes of societal collapse, rot, and darkness, often utilizing heavier, more aggressive sounds than traditional folk.
How is A24 influencing film music?
A24 is known for taking risks on unconventional talent and “dark re-imaginings” of stories, often pairing visionary directors with niche artists to create a unique atmospheric identity.
Why is the connection between folk and hip-hop significant?
Both genres originate as music for the working class, focusing on storytelling, social commentary, and the lived experiences of marginalized people.
What do you think about the shift toward niche, DIY artists in mainstream cinema? Does authenticity trump formal training in modern scoring? Let us know in the comments below or subscribe to our newsletter for more insights into the evolving landscape of film and music.
For more on the intersection of music and film, explore our latest analysis on independent cinema or visit the A24 official site for more on their upcoming releases.
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