Interview by Paul Salfen, Text by Christine Thompson for AMFM Magazine
When Apple TV+’s Palm Royale Season 2 ramps up the ultra-wealthy appetites of its Palm Beach elite, composer Jeff Toyne doesn’t just add more music—he doubles down on a meticulously researched, period-authentic approach that makes the score feel like it was written in 1969. In his exclusive AMFM Magazine interview with Paul Salfen, Toyne explained the guiding principle: “I endeavored to score the show as if we were scoring the show in 1969.” That meant strongly thematic, strongly melodic music with “strongly colored” instrumental palettes tailored to each character.
The 1969 Brief: Mancini Meets Herrmann… But Latin
Toyne’s jumping-off point came directly from showrunner Abe Sylvia: write music that “sounds the way a Slim Aarons photo looks”—glamorous, sun-drenched, jet-set Palm Beach circa 1969. The musical directive distilled to Henry Mancini meets Bernard Herrmann, but Latin.
- Mancini influence: Sparkly high vibraphones, celeste, piano, harp, and bright, high clarinets for that frothy, elegant 1960s lounge-jazz feel (Breakfast at Tiffany’s, Valley of the Dolls).
- Herrmann influence: Especially amplified in Season 2 with a larger orchestra and psychological tension—shifting into darker, more dramatic “Hitchcock horror” subgenre territory for subtext and unease.
- Latin twist: Palm Beach’s geographic and cultural vibe brought in jazz, big-band, and Latin flair, seamlessly bridging the score with period needle-drop songs chosen by music supervisors George and Ian Brimmer.
Toyne did deep dives into vintage 1960s recordings (many not easily available online), 1960s film scores, and even unexpected sources like Yma Sumac, Franz Lehár, Prokofiev, Shostakovich, Marty Paich, Enoch Light, and Hal Mooney. The goal: no anachronisms. The score had to feel like it could flow naturally into (or out of) songs the characters might actually hear on the radio.
Leitmotifs & Character-Specific Instrumental Colors
Toyne revived classic Golden Age film-scoring techniques rarely used today: distinct themes for every major character, each paired with a unique instrumental “color” that acts as an emotional and narrative shorthand.
Key examples from the Dellacorte family and beyond:
| Character | Theme / Melody Style | Signature Instrumental Color(s) | Emotional / Dramatic Purpose |
|---|---|---|---|
| Maxine Simmons (Kristen Wiig) | Sparkly, “do-or-die” high energy | E-flat clarinet (tiny & bright, à la Mancini’s “Baby Elephant Walk”), vibraphones, celeste, harp, accordion | Bold ambition, comic tension |
| Norma Dellacorte (Carol Burnett) | Initially frothy, later sinister | Accordion (Lawrence Welk vibe) → contrabass clarinet (Herrmann nefariousness) | Evolution from society matron to darker forces |
| Douglas Dellacorte | Sincere, old-fashioned love theme | Chromatic harmonica (pure Mancini “Moon River” sound) | Rare sincerity amid ulterior motives |
| Robert Diaz (Ricky Martin) | Smooth, on-screen musical flair | Flugelhorn with Harmon mute (vs. regular trumpet) | Latin charm & screen presence |
| Dellacorte Family | Shared sonic DNA | Single-reed family (accordion, harmonica, all clarinets) | Subtle off-screen callbacks & family connections |
These themes allow Toyne to “draw connections and underpin subtext” even when characters aren’t on screen—pure 1969-style leitmotif mastery.
“Made by Hand”: Live Orchestra, Big Band & Creative Production Tricks
Nothing about Palm Royale’s score is digital wallpaper. Toyne insisted on live recording with a 50-piece orchestra and 19-piece big band—ambitious for television’s tight schedule but essential for that authentic 1960s polish.
Creative production highlights:
- Everyday-object percussion: Martini shakers filled with ice and pill bottles used as shakers—direct sonic nods to the characters’ constant cocktails and pills.
- Collaborative layers: Jazz pianist Josh Nelson fleshed out a love theme on piano; arranger/orchestrator Marcus Sjowall expanded it for full orchestra; then chromatic harmonica overdubbed by Ross Garren.
- On-set involvement: Toyne recorded and arranged multiple on-screen numbers (Ricky Martin, Kristen Wiig, Allison Janney, Patti LuPone, Carol Burnett) and was present for filming.
Season 2 pushed this further: “more and more and more” territory, bigger orchestra, deeper Herrmann-inspired drama, and even more on-screen musical performances.
Why It Works—and Why It Matters
Toyne’s 1969 techniques don’t just evoke the era—they serve the story. The thematic density rewards close listening, the instrumental colors add visual-like specificity to the sound design, and the live ensemble gives every cue that extra human swing. As Toyne told AMFM: the result is “a little extra level of complexity” beyond mere mood—exactly what a show this visually and narratively rich demands.
The soundtrack for Palm Royale Season 2 is available now, and Toyne’s next project with Abe Sylvia (an Audrey Hepburn designer film) promises more of this meticulous, handcrafted magic. For aspiring composers, his advice remains timeless: stock your brain with the best period influences early, then trust the flow—because in 1969-style scoring, the story (and the orchestra) always comes first.
