‘Stranger Things’ Music supervisor Nora Felder.
While music may be an integral part in many (if not all) TV shows, the medium isn’t exactly known for transforming tunes into hits. In fact, it’s relatively uncommon that any track becomes a smash because of its feature in a program on the small screen. It’s even rarer for a song from decades past to be so perfectly placed into a popular show’s storyline that it not only reaches a new audience, but far outperforms its initial chart run and stands out as one of the biggest wins of the year.
While it might not happen with any frequency, that’s exactly what has taken place following the release of season four of Netflix’s
Despite the fact that the song was initially released in the mid-‘80s, at which point it became a top 10 hit in her home country and a top 40 title in the U.S., Stranger Things has propelled it to heights that no longer seemed in reach for Bush, if they ever were at all.
Since season four of Stranger Things premiered, “Running Up That Hill (A Deal with God)” has shot to No. 1 in the U.K. (beating its original peak of No. 3) and No. 3 on the Hot 100 in the U.S., giving Bush her first top 10 smash in the nation.
Now, Felder has earned her fourth Emmy nomination for Outstanding Music Supervision (all for her work on Stranger Things), and she may win her first trophy in about a month. I spoke with Felder about how she wooed Bush and what it’s been like watching the time-tested song become the hit single many argue it always should have been.
Hugh McIntyre: The music featured in Stranger Things has been welcomed so warmly. How does it feel to see the world reacting not only to the program, but specifically to the music used for it?
Nora Felder: It’s been so gratifying to see this season resonate with a diverse demographic of cultures from around the world. It has also been heartwarming to see that the music of Stranger Things has reconnected earlier generations to songs they grew up with during different phases of their lives.
As if that wasn’t enough, it has also inspired me to see that the music of Stranger Things was able to introduce younger generations to songs they were not familiar with, but instantly connected to. I have to say, it really doesn’t get much better than this!
McIntyre: How did you go about approaching the task of finding music for one of the biggest series currently airing, especially one that comes with specific needs regarding time period, tone, and more.
Felder: The main thing I try to keep in mind is to just stay true to the story and let it tell you what it might need through music. Music can serve a scene in varied ways. For example it can provide atmosphere to the story, depth to the characters, and/or levity to a specific situation.
Many times I look for songs with lyrics that can allude to the storyline aspects in thematically and emotionally layered ways. I try to be conscientious and not insult the audience’s intelligence by spoon-feeding them. That’s not to say that there aren’t some instances when I would want to state the obvious by impactfully shouting out a message. At other times, however, I may want a song to subliminally whisper softly into the viewer’s ear.
McIntyre: How did the idea of using Kate Bush’s “Running Up That Hill” come to you?
Felder: Back when The Duffer Brothers were in the early stages of writing the season four scripts, they were searching for the perfect song to capture Max’s emotional state–her pain, sense of loss, feeling of disconnection from others, and need for strength and support. When I had the idea to use Kate Bush’s “Running Up That Hill,” I knew it could be very special because of its powerful melodic flow and poignant themes. I felt strongly that it would resonate with Max’s experiences. Before sending the song as an idea, I reached out to one of her reps and pre-vetted the song. I was told that although she was very particular about allowing the use of her music, she was also open. That was good enough for me to move forward. I sent this song to The Duffer Brothers along with some alternate choices, though this was my clear favorite. I was overjoyed that the Duffer Brothers ended up reacting so strongly to Bush’s song and felt as deep of a connection to it as I did.
McIntyre: Tell me about the process of getting Kate Bush’s approval? How long did it take and what did you have to do?
Felder: Kate Bush is a true artist who is well-known for being very particular about the way her music is used. She wants to make sure her songs fit with a story. My clearance coordinator and I wanted to give her as much context as possible, so we spent a lot of time fleshing through the scene descriptions. We really wanted her to understand The Duffers’ vision and the creative depth behind Max’s story, both of which were so important for showing her that this was the perfect song. I was all in on Bush’s song and didn’t focus on any backup plan. So I was committed to doing everything in my power to make her song’s approval happen.
We were on the edge of our seats waiting for her feedback. As you might imagine, we were beyond thrilled to finally hear that she not only approved of the usage, but had actually been a huge fan of the show!
McIntyre: What was it like watching “Running Up That Hill” hit the charts and then rise to previously unseen heights because of this placement? How does that make you feel?
Felder: It’s just as surreal now as it was then when it started climbing up the charts around the world, finally making its way to No. 1 and then holding there for weeks. It’s truly been a historic lightning in a bottle moment that I will never forget and forever be proud of being a huge part of it.
McIntyre: Have you spoken to Kate or heard from her team regarding the incredible success of this feature?
Felder: I’ve spoken with her team and they’re just ecstatic. No one could have imagined this phenomenal outcome. Although I’ve never spoken to Kate, I have read interviews where she is clearly delighted about everything and is also happy that her music is now being introduced to a whole new audience thanks to her song’s placement in the show.
McIntyre: Kate Bush is notoriously picky with the use of her music–did you have a backup idea in case she said no?
Felder: For those important moments, I usually do have ideas tucked away that I can draw on as possibilities. This was one of those moments. I also truly felt in my gut that Kate Bush’s song was by far the best idea for this moment and for youth at this time in our world. Needless to say, I was incredibly relieved when Kate gave the go ahead for “Running Up That Hill.”
McIntyre: Is this placement the one you’re most proud of in your career?
Felder: Honestly, I’m proud of many placements throughout my career. But the fact that this has resonated for so many people around the world in such a big way does make it extraordinarily special.
McIntyre: What’s next for you?
Felder: I’m just starting production on a few projects I’m extremely excited about.
One is season two of the Showtime series “Yellowjackets.” Along with so many other people, I was a big fan of season one and was delighted when they reached out for me to come aboard.
I’m also just going into season five of the Emmy-nominated What We Do In the Shadows. This show has been a true labor of love for me each and every season.
Source: https://www.forbes.com/sites/hughmcintyre/2022/08/11/stranger-things-music-supervisor-nora-felder-talks-helping-kate-bush-score-an-unlikely-hit-interview/