Labrinth, the British musician and composer whose atmospheric soundscapes defined the sonic identity of HBO’s Euphoria, has detailed his departure from the series, stating he quit because he doesn’t “let people treat me like shit.” The revelation follows a period of public tension and a series of pointed social media posts where the artist expressed deep frustration with the industry and the production.
The fallout comes at a critical juncture for the series, as Euphoria prepares for the release of its third season. Labrinth, who has provided the score since the show’s inception, has not only distanced himself from the production but has reportedly moved to remove his previous musical contributions from the upcoming episodes.
The tension escalated last month when Labrinth took to social media to voice his grievances, declaring, “Fuck Columbia. Double Fuck Euphoria. I’m out. Thank you and good night.” While the musician had previously been praised as a cornerstone of the show’s creative success, his recent statements suggest a fundamental breakdown in professional relationships behind the scenes.
A Conflict of Vision and Treatment
In a recent update shared via his Instagram Story, Labrinth addressed the rumors surrounding his exit, framing the decision as a matter of personal dignity and professional integrity. He highlighted a disconnect between the public image of industry leaders and their private conduct, suggesting that honesty is often a facade in the entertainment business.
PEOPLE WILL COMFORTABLY LIE IN THIS INDUSTRY AND STILL CALL THEMSELVES HONEST PEOPLE
SO NO CAP
I DECIDED TO REMOVE WHAT EVER MUSIC I HAD IN IT
I SPOKE TO HBO AS FAR AS I KNOW WE ARE COOL
I LEFT BECAUSE
LAST TRUTH
WHEN I WORK FOR SOMEONE, THEIR VISION IS PARAMOUNT TO ME
BUT I DONT LET PEOPLE TREAT ME LIKE SHIT
The musician’s comments indicate that while he remained committed to the creative vision of the project, the interpersonal dynamics became untenable. Notably, Labrinth clarified that his issues were not with the network itself, stating that his relationship with HBO remains intact.
The Response from Sam Levinson
The creator of Euphoria, Sam Levinson, recently addressed the departure. When questioned about the specific circumstances that led to Labrinth’s exit, Levinson claimed a lack of clarity, stating, “I don’t know.” Despite the friction, Levinson acknowledged the musician’s pivotal role in the series, describing him as an “incredible collaborator” who was essential in building the foundation of the show’s unique sound.
This disparity in accounts—where the creator expresses uncertainty while the composer cites mistreatment—underscores the volatility often found in high-stakes creative partnerships. For a show as visually and aurally distinct as Euphoria, the loss of its primary composer is a significant shift in the production’s DNA.
Impact on Season 3 and the Sonic Shift
The immediate impact of Labrinth’s departure is already evident in the promotional material for the fresh season. The series is introducing a five-year time jump, and the musical palette appears to be shifting away from the ethereal, choral arrangements Labrinth is known for toward more traditional licensed tracks.
A preview of the season three premiere, which has been shared online, features the character Rue (played by Zendaya) singing along to “Ride Like The Wind,” a yacht rock classic by Christopher Cross. The scene depicts Rue in Mexico, signaling a stark departure from the moody, synth-heavy atmosphere of previous seasons.
The decision by Labrinth to remove his music from the new episodes creates a potential legal and creative hurdle for the production, as the “Euphoria sound” was largely a bespoke creation tailored to the show’s emotional beats. The transition to licensed music may be a necessity born of this professional split.
Timeline of the Dispute
| Phase | Event | Detail |
|---|---|---|
| Initial Break | Social Media Outburst | Labrinth blasts Columbia and Euphoria, announcing his exit. |
| Production Response | Levinson Interview | Show creator claims ignorance of the specific cause of the split. |
| Artist Clarification | Instagram Statement | Labrinth cites mistreatment and the decision to remove his music. |
| Public Preview | Season 3 Teaser | New footage reveals a shift in music and a five-year time jump. |
The Broader Industry Context
The public nature of this dispute reflects a growing trend of high-profile collaborators demanding more transparency and respect regarding their contributions to “auteur-driven” projects. In the case of Euphoria, the music was never merely background noise; it functioned as a primary narrator for the characters’ internal struggles.
By stating that he will not “let people treat me like shit,” Labrinth is positioning his departure not as a creative difference, but as a boundary-setting move. This move is particularly poignant given the power dynamics often present between showrunners and the technical or musical staff who help realize a vision.
The absence of Labrinth’s signature score will likely be one of the most discussed elements of the new season, as fans have long associated the show’s identity with his specific brand of sonic experimentation.
The season three premiere is scheduled to screen this Sunday at Coachella, providing the first comprehensive look at how the show has evolved both narratively and musically in the wake of this departure.
We invite readers to share their thoughts on the sonic evolution of Euphoria in the comments below.
