Conversation By Paul Salfen and Remington Rafael, Text by Christine Thompson| AMFM Magazine
Emmy-winning composer Nathan Barr, known for his bold, organic scores on True Blood, The Americans, and The Great, sat down with Paul Salfen and Remington Rafael to discuss taking the reins on Apple TV+’s hit series The Morning Show Season 4. In this exclusive AMFM Magazine interview, Barr opens up about crafting a fresh orchestral sound under intense deadline pressure, his early inspirations from Yo-Yo Ma to Jimmy Page, the joy of live musicians, and what keeps him reinventing after 20+ years in Hollywood.
In the high-stakes world of prestige television, few composers navigate the pressures of reinvention quite like Emmy winner Nathan Barr. With a career spanning more than two decades, Barr has built a reputation for organic, versatile scoring that draws from his multi-instrumentalist roots and a deep fascination with rare, global instruments. His latest challenge? Stepping into The Morning Show for Season 4 on Apple TV+, delivering a fresh orchestral sound that builds toward the season’s operatic climax.
Barr joined hosts Paul Salfen and Remington Rafael for a candid conversation, reflecting on the thrill of taking over a beloved series mid-run. “The Morning Show was a surprise for me because I was a fan of the show before they called for Season 4,” he shared. “So I was really thrilled to get that call.”
The producers sought a reset for the score. Previous seasons leaned heavily into operatic territory with a major set piece in the final episodes. “They wanted a sort of fresh start,” Barr explained. “Everything to build to that point, be orchestral. And that was an exciting place to start.”
Barr’s musical journey began long before Hollywood came calling. A classically trained cellist, violinist, and pianist, he found early escape at the piano. “I always loved playing music,” he recalled. “It was a real escape for me as a kid… sitting down to the piano and just playing stuff. I didn’t know how to play anything. So I just played stuff, and that was an early experiment with composing before I knew it was.”
That playful experimentation evolved into a professional craft defined by adaptability. Barr’s breakthrough came with HBO’s True Blood, followed by the critically adored The Americans. Other highlights include Hulu’s The Great (with creator Tony McNamara, whom he’ll reunite with soon), The Diplomat, and recent projects like Prime Video’s 56 Days, Warner Bros.’ Salem’s Lot, and Ryan Murphy’s Hollywood, which earned him an Emmy for Outstanding Main Title Theme in 2020 (with five additional nominations across his career).
When asked what fans and filmmakers most often inquire about, Barr pointed to those signature projects. “Obviously the first thing that really put me on the map… was True Blood… And then The Americans was a show that’s beloved to a lot of people. As a matter of fact, [on]The Morning Show, they were asking for some stuff for The Americans.”
Composing under deadline is no small feat, especially when replacing a previous composer mid-series with half the usual time. Barr brought in collaborator Dmitri Smith (from The Diplomat) as co-composer. “We work really well together, finish each other’s musical sentences,” he said. “I had so little time on the season… It was a lot. But we got it done and they were happy. And I’m coming back next season. So mission accomplished.”
The orchestral scale of Season 4 was a highlight. “We had strings, at times we had brass, we had woods, we had harp,” Barr described. “Anytime the process ends with a group of musicians in front of you, that is just the beautiful part of this business.”
He emphasized the challenge of staying fresh after years in the industry: “How do you try and reinvent yourself?… It’s all about trying to stop leaning way into those tricks because then everything starts to sound really derivative.” Barr finds inspiration in the unexpected, praising the boundary-pushing Canadian duo Jean de Pétrine (known for quarter tones and hypnotic two-man performances) as a refreshing jolt.
Pressure, he noted, has become a surprising ally. “I love a deadline, I love a goal, I love a new show that I’m excited about… We need structure.” Early influences like Yo-Yo Ma on cello and Jimmy Page on guitar still fuel his drive, blending classical precision with rock energy.
For aspiring composers, Barr offers grounded wisdom: talent alone isn’t enough. “Being a good composer is just one of a long list of things required… There are plenty of people whose strengths are not necessarily being composers, but they do a lot of work because people love the way they do a meeting. They love the way they think about story.” He encourages hard work while acknowledging the role of timing and relationships.
One of the season’s musical anchors came early. Barr dove straight into Celine’s theme: “I wanted to grab the bull by the horns… There’s a character named Celine, and they were having trouble finding that theme. So I started out with that theme, and fortunately, that was the first thing I wrote, and that’s the first thing they approved.”
Looking ahead, Barr has a full slate: Season 5 of The Morning Show, Tony McNamara’s Mosquito, another exciting new Apple series, and a film project. His renowned Bandrika Studios—home to a vast collection of rare, well-maintained instruments from around the world—continues to serve as the creative laboratory for these distinctive palettes.
Barr’s work on The Morning Show Season 4 proves once again why he remains one of Hollywood’s most in-demand voices: a composer who thrives under pressure, embraces collaboration, and continually finds new ways to make those same 12 notes feel utterly fresh.
Special thanks to Nathan Barr for the generous conversation. Stay tuned to AMFM Magazine for more exclusive interviews with the artists shaping film, television, and music.
