The adaptation of Stephen King’s dystopian novel “The Long Walk” has finally made its way to the big screen, and with it comes a soundtrack that perfectly captures the psychological horror and emotional weight of this harrowing tale. Directed by Francis Lawrence and featuring a stellar cast including Cooper Hoffman, David Jonsson, and Mark Hamill, the film required a musical approach that could convey both the relentless tension of the competition and the deeply personal stories of the participants.
The musical landscape of “The Long Walk” is crafted by Jeremiah Fraites, best known as the drummer and multi-instrumentalist for the acclaimed folk-rock band The Lumineers. This marks Fraites’ feature film scoring debut, representing a significant departure from his usual collaborative work with the band. Released by Milan Records on September 12, 2025, the soundtrack demonstrates how an artist can translate their intimate understanding of American folk traditions into the realm of cinematic horror.
Musical Themes and Motifs
The soundtrack employs several recurring musical themes that help bind the narrative together. The title track, “The Long Walk,” serves as the central musical statement, establishing the primary melodic and rhythmic motifs that appear throughout the film. Fraites constructs his score around the concept of forward momentum, with many tracks featuring persistent, walking-pace rhythms that mirror the relentless nature of the competition itself.
The composer also explores themes of memory and home through more introspective pieces like “Mom” and “Dad,” which provide emotional counterpoints to the film’s more intense sequences. These quieter moments allow the audience to connect with the contestants as individuals rather than simply participants in a horrific game. The use of solo piano in tracks like “Olson (Solo Piano)” strips away all but the most essential musical elements, creating intimate portraits of characters facing their mortality.
The Country Connection
One of the most significant additions to the film’s musical landscape is the original song “Took a Walk” performed by Shaboozey and Stephen Wilson Jr. This collaboration brings a distinctly American country flavor to the project, reinforcing the story’s themes of perseverance and the pursuit of the American Dream, even in its most twisted form.
The choice to include country music is particularly significant given the genre’s traditional focus on storytelling and its deep roots in American culture. Shaboozey, whose recent work has gained significant attention in the country music scene, brings authenticity to the project, while Stephen Wilson Jr.’s guitar work provides the perfect musical foundation for this reflective ballad.
Musical Examples from the Film
Start
In the film: This opening track establishes the film’s musical language from the very first scene. As the camera introduces us to the dystopian world and the contestants preparing for the walk, Fraites’ music immediately signals that this is not a typical coming-of-age story. The track builds gradually, mirroring the increasing tension as the reality of the competition becomes clear to both the characters and the audience.
Trivia: At just 1:43, “Start” demonstrates Fraites’ ability to create maximum emotional impact in minimal time. The track incorporates field recordings and ambient sounds that blur the line between score and sound design, a technique that Fraites developed during his years of recording with The Lumineers in various acoustic environments.
Miles
In the film: As the contestants begin to cover serious ground, “Miles” underscores the physical and mental toll of the competition. The music reflects the monotonous yet terrifying nature of the walk, with repetitive elements that gradually evolve as the characters’ situation becomes more desperate. The track effectively conveys the passage of time and distance while maintaining the tension necessary for the horror elements.
Trivia: Fraites composed “Miles” using a modified guitar tuning that he discovered while experimenting with sounds for The Lumineers’ previous albums. The unusual tuning creates a sense of unease that perfectly matches the contestants’ growing anxiety about their situation.
Olson
In the film: Named after one of the contestants, this track plays during a crucial character development scene that reveals the humanity behind the competition. The music provides an emotional window into the character’s backstory and motivations, helping the audience connect with individuals who might otherwise be lost in the larger narrative of the competition.
Trivia: The track features a melody that Fraites originally wrote for a Lumineers song that never made it onto an album. He felt the melody’s melancholic quality perfectly captured the tragic nature of the contestants’ situation, so he reworked it specifically for the film.
Mom
In the film: This four-minute piece accompanies flashback sequences and moments of introspection where contestants think about the families they’ve left behind. The music serves as an emotional bridge between the harsh reality of the competition and the warmth of memory and home. The track’s length allows for extended emotional development, giving weight to the characters’ motivations for entering the competition.
Trivia: “Mom” features a string arrangement that Fraites recorded with members of the Colorado Symphony. The composer wanted to capture a sense of homesickness that would resonate with American audiences, so he incorporated elements reminiscent of traditional American folk melodies.
Curley
In the film: Another character-specific track, “Curley” provides musical insight into one of the most memorable contestants. The music plays during scenes that reveal the character’s strategy and personality, helping to differentiate him from the other participants. The track’s relatively short length mirrors the character’s screen time while maximizing emotional impact.
Trivia: Fraites used a technique called “prepared piano” for this track, placing objects on the piano strings to create unusual timbres. This experimental approach reflects the character Curley’s unpredictable nature and adds an element of musical uncertainty that mirrors the competition itself.
Oh, My Darling Clementine / Mile 260
In the film: This unique track features the actual cast members singing the traditional folk song “Oh, My Darling Clementine” as they reach the 260-mile mark of their journey. The scene serves as a moment of unity among the contestants, but the traditional song’s dark undertones (it’s about loss and death) create an ominous subtext that foreshadows events to come.
Trivia: The decision to have the cast perform this track came from director Francis Lawrence, who wanted to show the contestants attempting to maintain their humanity through music. The traditional song was chosen for its American folk heritage and its thematic relevance to the story. The actors, including Cooper Hoffman, David Jonsson, Garrett Wareing, Joshua Odjick, and Tut Nyuot, rehearsed the song extensively to achieve the natural, campfire-like performance heard in the film.
Delirium
In the film: As the competition takes its psychological toll, “Delirium” underscores the mental breakdown experienced by several contestants. The music becomes fragmented and disorienting, using unconventional rhythms and harmonies to place the audience inside the minds of characters who are losing their grip on reality.
Trivia: Fraites created this track using a combination of traditional instruments and electronic manipulation. He recorded himself and other musicians playing conventional melodies, then used software to fragment and reconstruct the performances, creating a musical representation of mental disintegration.
Winner
In the film: The final track of the score accompanies the film’s conclusion, providing musical resolution to the harrowing journey. Without spoiling the ending, the music manages to be both triumphant and deeply melancholic, reflecting the complex emotions of survival in such circumstances.
Trivia: “Winner” was the last track Fraites composed for the film, and he wrote several different versions before settling on the final arrangement. The composer wanted to avoid a traditional “happy ending” musical approach, instead creating something that acknowledged both the achievement and the cost of survival.
The Sound of American Horror
What makes the music of “The Long Walk” particularly effective is its grounding in American musical traditions. Rather than relying on conventional horror movie tropes, Fraites and his collaborators draw from folk, country, and indie rock traditions that feel authentically American. This approach reinforces the story’s critique of American society and the dark side of competition and achievement.
The soundtrack serves as more than just accompaniment to the visual narrative; it becomes a commentary on American culture and the lengths to which people will go in pursuit of success. The use of traditional folk elements, combined with more experimental approaches, creates a musical landscape that feels both familiar and unsettling, much like the dystopian America depicted in King’s novel.
By grounding the soundtrack in American folk and country traditions while incorporating experimental elements, the music becomes an integral part of the film’s exploration of competition, survival, and the cost of success in American society. The result is a soundtrack that works both as accompaniment to the film and as a standalone musical experience, demonstrating the power of thoughtful, culturally aware film scoring.
