An (Unofficial) Guide to The Bear’s Music, Season 3 Edition | Features | LIVING LIFE FEARLESS
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An (Unofficial) Guide to The Bear’s Music, Season 3 Edition 

Throughout Season 3, which debuted on Hulu Thursday, The Bear continues to emphasize music like few other shows currently on television. 

Yes, it’s eclectic, utilizing classical music at times and instrumental compositions by Trent Reznor and Atticus Ross. But overall, the show feels a lot like it’s scored by my CD collection from college, circa 1999. 

Here is an (unofficial) episode-by-episode guide to the music of Season 3 of The Bear, with an assist from both the Shazam app and my own pop music memory: 

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Episode 1 (“Tomorrow”) 

This impressionist season premiere, featuring lots of flashbacks and minimal dialogue, is scored mostly with “Together,” an instrumental song by Reznor’s old band Nine Inch Nails.

Episode 2 (“Next”) 

This episode is one of a few this season featuring the Eddie Vedder solo song “Save It For Later.” And while the first season famously ended with a ‘90s Radiohead song, “Let Down,” this one reaches even further back for a closing credits song, “Nice Dream.”

Episode 3 (“Doors”) 

This episode mostly focused on extremely tense kitchen action, is almost entirely scored by classical music, including works by Mascagni, Krommer, Haider, Wolf-Ferrari, William Vincent Wallace, Mendelssohn, Strauss, and Verdi. 

Episode 4 (“Violet”) 

Carmy and Claire’s early heart-to-heart is scored with the Cocteau Twins’ “Pearly-Dewdrops’ Drops.”

When Tina goes to get vegetables, we hear Brian Eno and John Cale’s “Spinning Away.”

We know Richie’s daughter loves Taylor Swift, and when his ex’s new fiancee (Josh Hartnett) answers the door, we hear Taylor’s “Long Live.” 

Last season’s Christmas episode ended with Weezer’s “The Christmas Song,” and this one scores the closing credits with a different Weezer song, the “Pinkerton” track “Getchoo.” 

Episode 5 (“Children”) 

The episode begins with Walter Schumann & Charles Laughton’s theme song from the 1950s movie “Night of the Hunter.” 

As Carmy cooks, we hear Van Morrison’s “Purple Heather,” while we hear another version of Vedder’s “Save It For Later,” during a phone call by Richie. 

The 1980s Rolling Stones song “Mixed Emotions” is played twice in the episode, and it’s also featured in promos for the new season. 

Episode 6 (“Napkins”) 

This episode, featuring the backstory of Tina, starts with Kool and the Gang’s “Get Down on It,” emerging from an alarm clock. 

Later, we hear Genevieve Artadi’s composition “Plate,” — followed later in the episode by “Nice” — and eventually a Reznor/Ross composition called “The Start of Things,” which was earlier featured in the Jonah Hill-directed movie Mid-90s.

A montage of Tina’s job-hunting is scored by Kate Bush’s “The Morning Fog,” while when she arrives at The Beef for the first time, we hear the unmistakable notes of The Beastie Boys’ “Sabotage.” 

The Ghetto Brothers’ “Got This Happy Feeling” scores the closing credits. 

Episode 7 (“Legacy”) 

The episode opens with with Adrianne Lenker’s “No Machine,” for Carmy and Claire’s date.

English Beat’s “Save It For Later” plays over Sydney’s meeting with Adam Shapiro. 

Then, it’s more Beastie Boys, as “Fight For Your Right” plays over a cooking montage. 

Lindsey Buckingham’s acoustic ballad “Stephanie” is the music for a talk between Natalie and Richie 

The scene with Natalie at the restaurant supply store is a Reznor/Ross original, I assume, although Shazam did not recognize it. 

Carole King’s “Up on the Roof,” plays over a montage of the characters preparing for work, leading into Natalie going into labor. 

Episode 8 (“Ice Chips”) 

With Natalie in a traffic jam while in labor, we hear Refused’s “New Noise.” 

There’s no music for most of the episode, but The Ronettes’ “Baby I Love You” plays over both Jamie Lee Curtis’ future Emmy-winning monologue, and again over the closing credits. 

Episode 9 (“Apologies”) 

As the characters break down boxes, we hear Mk.gee’s “Are You Looking Up.” 

 Later, in a kitchen scene, we hear another recycled instrumental tune from Reznor and Ross, this one is “The Forever Rain,” from the Ken Burns documentary The Vietnam War

 When Carmy is alone in the kitchen, we hear the Nine Inch Nails song “Hope We Can Again.” 

When Carmy is debating whether to call Claire, we hear a hint of R.E.M.’s “Strange Currencies,” the official theme song of their Season 2 romance. 

Stevie Nick’s “Secret Love” plays when Richie and his former wife talk on a playground bench. 

Jennifer Castle’s “Blowing Kisses” plays over the montage of Carmy writing and Sydney riding in a car. 

As Natalie holds her new baby, we hear the Counting Crows song “A Murder of One,” although strangely, it skips around the verses. 

Episode 10 (“Forever”) 

We hear another Weezer song, “In the Garage,” over an early kitchen montage. 

Several songs play in the background during the “funeral” scene for the closing restaurant, including Talking Heads’ “The Big Country,” The Sundays’ “Joy,” and later, David Bowie’s “Can You Hear Me.” 

Otis Redding’s “Just One More Day” plays over Carmy’s confrontation with Joel McHale’s chef character. 

John Cale’s “Big White Cloud” plays over Carmy and Olivia Colman’s talk. 

James’ “Laid,” is played over Carmy walking home, and the chefs’ after-party. 

And the final needle drop of the season goes to a Chicago band, Smashing Pumpkins, with “Disarm.” 

What was some of your favorite music moments from Season 3 of The Bear?

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