Industry (S4E7, 2026)

Yasmin and Harper’s club scene

A rescore of Industry Season Four’s Harper and Yasmin club scene, exploring how music controls space, energy and perception within a club setting. Rooted in club culture, the selections move between euphoria, detachment and psychological tension, building on the counterpoint of Daft Punk’s Veridis Quo while using shifts in rhythm and texture to reframe both character and environment.

  • It’s hard to think of a show with a musical identity as distinct as HBO/BBC’s Industry. As Ollie White, Nathan Micay and the wider team have described it, the trading floor becomes a dance floor, and that idea runs through everything. The show’s electronic, club-leaning soundtrack feels both modern and intentional, grounding its world while pushing it somewhere more expressive.

    Beyond Nathan Micay’s glistening original score, the soundtrack is packed with thoughtful, often unexpected cues and, increasingly, big name needle drops. What consistently stands out to me is the show’s ability to depict club spaces in a way that feels genuinely authentic while still carrying real tonal weight. Electronic music, in particular, allows for that balance. It uses repetition, rhythm and texture to frame emotion in a way that’s subtle but deeply personal.

    With no shortage of standout moments this season, I’ve focused on one scene in particular: Harper and Yasmin’s club sequence in Episode Seven. It moves fluidly through shifts in energy, beginning in the bar before spilling into the club as diegetic sound falls away and music takes control. The use of Daft Punk’s Veridis Quo is especially striking with its melancholic, cyclical tone working against the expected euphoria of the setting, creating a more complex emotional release.

    All of the selections that follow stay rooted in that club-adjacent language, something Industry uses not just as texture, but as a dynamic metaphor throughout the series.

Core Reinterpretation

Aphex Twin - Ageispolis

Reframes the club as an internal, almost childlike space, where looping motifs feel detached rather than euphoric. Soft pads fade in and out, mirroring the slow-spinning cinematography, while the softened percussion gives it that sync-ready club energy which allows the cue to enter and exit the scene seamlessly under diegetic sound. In a similar vein to the original, this cue draws on the cultural weight of Aphex Twin, while also aligning with Veridis Quo’s sense of timeless electronic identity.

  • Master: Warp Records (PPL lists Believe International for neighbouring rights admin in UK)

    Publishing: BMG Rights Management (UK) Ltd (single writer: Richard David James)

    Control: Independent (Master), Major-like Independent (Publishing)

    Notes: Publishing fully controlled via BMG, master held by Warp. PPL attribution to Believe International reflects admin layer, not sync control. Artist approval likely required.

Nostalgic Pull

Underworld - Jumbo

Shifts the scene toward memory and longing, softening the tension into something more reflective. Its sleek tone and ethereal vocals provide a transcendent edge to the hedonism on screen, framing the scene as a cathartic release with enough sensitivity so as to not trivialise the significance of the previous scene. A long, ambient intro allows the cue to enter seamlessly, while its tone frames the rambling conversation that follows in the smoking area as a reinforcement of Yasmin and Harper’s reconnection.

  • Master: Underworld (Smith Hyde Emerson, artist-controlled)

    Publishing: Universal Music Publishing Limited (three writers: Darren Emerson, Richard Smith, Karl Hyde)

    Control: Independent (Master - artist-controlled), Major (Publishing)

    Notes: Artist-owned master, direct approval required from band/management. Publishing structurally straightforward.

Club Reality

A Guy Called Gerald - Voodoo Ray

A true UK acid house anthem, Voodoo Ray’s wacky vocals and elastic acid lines double down on the intoxicated movements and swinging jaws of Yasmin and Harper, its weird and whimsical musical energy providing an insight into the instability of both characters’ states of mind. While very much at home in a club, the track’s late 1980s production gives it a softer and more sync-friendly sound in keeping with season four’s emphasis on throwback needle drops. Given the song’s 4x4 structure, it allows for simpler editing and features a natural button at the end of the track for use in the transition to the smoking area.

  • Master: Rham! Records Ltd

    Publishing: Gerald Simpson / Nicola Collier (no publisher)

    Control: Independent (Master), Independent (Publishing)

    Notes: Catalogue age suggest artist involvement in approvals. Publishing fully writer-controlled, requiring clearance with both writers.

Cold Detachment

Wata Igarashi - Searching

The two characters have battled each other all season long, this track introduces a cold, emotional distance, reframing the interaction as something strategic rather than personal. Dense, swirling textures tighten the energy of the scene, where loop-driven rhythms constantly mutate in almost imperceptible ways. The song’s cyclical structure builds tension through restraint rather than escalation, never taking over the scene and allowing the viewer’s own unease to seep into their reaction to what’s on screen. The club-ready nature of the song aids a transition towards a diegetic sound as the scene moves outside and into the smoking area.

  • Master: Kompakt

    Publishing: No PRS listing located (single writer: Wata Igarashi)

    Control: Independent (Master), Likely Independent / Non-PRS registered (Publishing)

    Notes: No PRS registration at time of search. Publishing likely administered outside of UK.

Fragile Tension

Telefon Tel Aviv - arms aloft,

A club-infused track which underscores the volatility beneath the surface. Polyrhythms and percussive echoes momentarily synchronise with lighting movements and editing cuts, creating a disjointed and disrupted club experience. The spacious production of arms aloft, flows through the scene, allowing uncertainty and contemplation to take over. Echoed vocals combine with inward looking, club-driven production to expose the stresses building beneath the surface. Telefon Tel Aviv’s reverb-heavy production provides flexibility to music editors, allowing them to echo out the track in a subtle and organic manner.

  • Master: Telefon Tel Aviv (distributed via SC Distribution)

    Publishing: Benellisound (administered by Ghostly International, single writer: Joshua Eustis)

    Control: Independent (Master), Independent (Publishing)

    Notes: Publishing fully administered by Ghostly International. Master appears artist-controlled with distribution via SC, approval likely via artist/management.

Curveball

7038634357 - Afterall

A sparse, inward looking composition that pushes against the club setting entirely, elevating the scene to a more psychological and transcendental space. Ambient but not without a pulse, the track physically supports the dynamic style of the scene’s editing and cinematography, whereas it directs tone towards more of a post-club comedown than the cathartic action within the scene. There’s also a constant rumble in the song’s low-end, mimicking the physicality of a club sound system and helping ground the track within the scene.

  • Master: Self-released (waiting all my life imprint, per release credit)

    Publishing: Not identified (no PRS listing located)

    Control: Independent (Master), Independent (Publishing)

    Notes: Fully independent release with no identifiable label or publisher. Likely needs direct clearance with artists for both master and publishing.

Final thoughts

Electronic and club-focused music communicates tone in such an intuitive way. Mechanical loops and drum patterns build structure, but more importantly outline the blank space in which emotional responses develop. 

Each cue stays true to Industry’s electronic identity, building on the tonal precision of Daft Punk’s Veridis Quo while exploring culturally-relevant, club-ready selections. At the same time, more inward looking choices push the scene beyond surface energy, reflecting the emotional weight carried into it.