The ‘Stranger Things’ Soundtrack Effect: How Nostalgia Marketing is Rewriting the Rules of Music Renaissance
A 370% spike in streams. That’s the seismic shift Kate Bush’s “Running Up That Hill” experienced after its pivotal placement in Stranger Things Season 4. But this isn’t just a feel-good story about a beloved artist finding a new audience; it’s a masterclass in nostalgia marketing, and a harbinger of how entertainment will increasingly leverage the power of past hits to drive present-day cultural moments. As Stranger Things enters its final season, the show’s continued knack for resurrecting forgotten anthems isn’t just a delightful Easter egg for viewers – it’s a blueprint for a new era of music discovery and artist revival.
The ‘Stranger Things’ Jukebox: More Than Just a Soundtrack
The show’s music supervisor, Nora Felder, has consistently demonstrated an uncanny ability to select songs that resonate both with the 1980s setting and with contemporary audiences. The first four episodes of Season 5 alone feature a carefully curated mix, from The Clash’s “Should I Stay or Should I Go” – a poignant callback to Season 1 – to ABBA’s “Fernando” and Tiffany’s “I Think We’re Alone Now.” This isn’t random selection; it’s strategic storytelling. The use of Diana Ross’s “Upside Down,” held back for a crucial moment, echoes a similar tactic employed by Breaking Bad with Tommy James and the Shondells’ “Crystal Blue Persuasion,” proving the power of delayed gratification in musical impact.
The Nostalgia Loop: Why Older Music is Winning
Why is this happening now? Several factors are at play. Firstly, a growing fatigue with the constant churn of new music. Listeners are increasingly seeking comfort and familiarity in the sounds of their past. Secondly, the algorithmic nature of streaming services often prioritizes established artists, making it harder for new music to break through. Stranger Things bypasses this by introducing older songs to a new generation, effectively side-stepping the algorithmic gatekeepers. This phenomenon isn’t limited to the 80s; the show’s use of songs from the 60s, like The Chords’ “Sh-Boom (Life Could Be a Dream)” and The Sherman Brothers’ “Higitus Figitus,” demonstrates a broader appeal to multi-generational nostalgia.
Beyond the Charts: The Ripple Effect on Artists
The “Running Up That Hill” effect isn’t an isolated incident. Artists like Fleetwood Mac experienced a similar surge in popularity after their music was featured in other shows. But the Stranger Things impact is different in scale. It’s not just about increased streams; it’s about re-contextualizing an artist’s entire catalog for a new audience. Will Season 5 spark a similar renaissance for Diana Ross or Tiffany? The early signs are promising, and the potential for a broader revival of 80s artists is significant. This isn’t just about sales; it’s about legacy.
The Future of Music Supervision: A New Power Dynamic
The success of Stranger Things is fundamentally changing the role of music supervisors. They are no longer simply clearing rights and selecting background music; they are becoming cultural curators with the power to launch careers and reshape musical landscapes. This shift is creating a new power dynamic within the entertainment industry, with music supervisors wielding increasing influence over an artist’s visibility and commercial success. Billboard’s recent deep dive into the role of music supervisors highlights this growing importance.
Implications for Marketing and Branding
The lessons from Stranger Things extend far beyond the music industry. Brands are increasingly tapping into nostalgia to connect with consumers on an emotional level. The show demonstrates that carefully curated nostalgia can be a powerful marketing tool, capable of generating significant buzz and driving engagement. However, authenticity is key. Simply slapping a retro aesthetic onto a product isn’t enough; brands need to understand the cultural context and emotional resonance of the era they are referencing.
As Stranger Things prepares to deliver its final notes, its legacy will extend far beyond its captivating storyline. It’s rewriting the rules of music discovery, empowering music supervisors, and demonstrating the enduring power of nostalgia. The final volume, arriving this December, promises to deliver even more sonic surprises, and further solidify the show’s place as a cultural touchstone for a generation – and beyond. What songs do you predict will be featured in the final episodes, and which artists might experience the next ‘Stranger Things’ bump? Share your thoughts in the comments below!
