From Bridgerton to Spider-Noir: The Music of Kris Bowers at SDCC 2026

What does Ariana Grande’s “thank u, next” have to do with Bridgerton’s score? How does a composer move from the romantic world of Bridgerton to the weird depths of Spider-Noir so effortlessly?

We spoke with composer and filmmaker Kris Bowers about finding the distinctive musical language for each project. He explained how pop music shaped the Bridgerton score, how classic film noir inspired Spider-Noir, and why composing for animation (The Wild Robot) offered him an exciting new level of creative collaboration.

This video was recorded at San Diego Comic-Con 2026 at a composer roundtable. 

Bringing a Modern Rhythm to Bridgerton

When Bowers first began composing for Bridgerton, he did not know the series would feature classical covers of contemporary pop songs. He initially experimented with writing period-style music, chopping it into samples, and transforming it into something modern. When that approach did not work, he tried recording traditional music in a fresher way—but it still felt too closely tied to the Regency era.

His breakthrough came while writing a piano theme for the central couple. The director shared several contemporary piano pieces that helped Bowers hear the period differently. Everything fell into place during the first episode’s spotting session, when he heard the string arrangement of Ariana Grande’s “thank u, next.” Because audiences already understood the song and its meaning, it immediately placed them inside the characters’ emotional world.

Bowers realized that he could write for classical instruments while taking inspiration from the melodies, tempos, rhythms, and syncopation of pop music. This combination became an essential part of Bridgerton’s signature sound.

Creating the Sound of Spider-Noir

Although every Bowers project begins with the emotions and humanity of its characters, the music takes a different path once he enters the specific world of the story.

For Spider-Noir, he first focused on Ben’s personality and emotional core. From there, he explored the instrumentation and textures needed to blend classic noir with a modern superhero story.

The noir elements include sweeping orchestral passages, prepared piano, and inspiration from scores such as Chinatown, King Kong, and Double Indemnity. The team also drew from contemporary artists such as Nine Inch Nails, particularly their use of texture and sound design.

Bowers explained that working on a project creates a kind of filter through which he begins to experience everything around him. A sound from a documentary or an unexpected piece of percussion might suddenly feel perfect for the score he is developing.

Why the Theremin Fits Spider-Noir

One of the most distinctive instruments used in Spider-Noir is the theremin. Its history allowed Bowers to connect the project’s noir setting with its more contemporary and fantastical elements.

The theremin was frequently associated with science fiction and psychological disturbance in classic cinema. By incorporating its eerie sound, Bowers could acknowledge those older musical traditions while creating a bridge to the show’s modern superhero world.

His fascination with the theremin began in high school after he attended a house concert and heard someone perform a classical piece on a bowed saw. When another attendee compared the sound to a theremin, Bowers went home, researched the instrument, and began seeking out recordings.

Imagining The Wild Robot Before It Was Finished

The Wild Robot marked Bowers’ first experience scoring an animated feature. Unlike live-action productions, which often bring in a composer after filming, animation requires music much earlier because the images, pacing, and story are being developed simultaneously.

Bowers first scored the “I Could Use a Boost” sequence while watching simple black-and-white pencil sketches. Although the artwork was minimal, the scene already carried tremendous emotion.

He also had to imagine everything that had not yet been animated. When the filmmakers explained that a scene would eventually contain thousands of geese, Bowers needed to write music that captured that enormous scale—even though the early drawings only showed Roz and Brightbill.

Concept art helped him envision the film’s eventual beauty and scope. Bowers found the process surprisingly freeing because the filmmakers could respond to his music while continuing to shape the animation. Instead of working separately, the music and imagery developed together.

Kris Bowers’ Upcoming Directing Projects

In addition to composing, Bowers continues to work as a director. Following The Last Repair Shop, he is directing a documentary series about the Colburn School in Los Angeles, where he once studied.

The series will profile students, faculty, and staff members, exploring the school’s community from several perspectives.

Bowers is also writing a project about Roland Hayes, the groundbreaking Black classical vocalist who achieved international acclaim during the early 20th century. Bowers hopes the project will introduce Hayes and his remarkable legacy to a wider audience.

Whether combining classical instruments with pop rhythms, reinventing the musical language of film noir, or composing to unfinished pencil sketches, Kris Bowers continues to find unexpected sounds that bring characters and their worlds to life.

Did you enjoy this interview? We certainly enjoyed chatting with Mick Giacchino – he is so nice! Let us know what you think in the comments and on our socials.