You know that feeling when you hear a single note and your stomach just drops? That’s what happens when those first few acoustic notes of the The Last of Us music kick in. It’s not just "background noise" for a zombie game. Honestly, calling The Last of Us a zombie game feels like a disservice anyway. It’s a tragedy about love and loss, and the music is the heartbeat of that grief.
Gustavo Santaolalla.
If you don't know the name, you definitely know the sound. He’s the Argentinian composer who basically redefined what a video game score could be. Before he showed up, most big-budget games were trying to sound like Hollywood blockbusters with massive orchestras and brass sections that made everything feel epic and "larger than life." Santaolalla did the opposite. He went small. He went intimate. He used a ronroco—a tiny Andean string instrument—and made the end of the world feel lonely, dusty, and strangely beautiful.
How Gustavo Santaolalla Changed Everything
Most developers hire composers once the game is basically finished. They show them a few clips and say, "Make this sound exciting." Naughty Dog didn’t do that. Neil Druckmann actually approached Santaolalla before they had even built the game. They wanted the The Last of Us music to be baked into the DNA of the story.
It worked.
The main theme isn't some heroic anthem. It’s a repetitive, circling melody that feels like it’s searching for something it can’t quite find. It’s played on a detuned guitar, which gives it this raw, imperfect quality. It’s not "clean." It sounds like it’s been sitting in a basement for twenty years after the cordyceps outbreak, and that’s exactly the point. Santaolalla famously used instruments that were out of tune or played them in unconventional ways to get that "broken" sound. He even recorded in bathrooms or used PVC pipes to create specific echoes.
That’s why it feels real.
Silence is a Character Too
One thing people often overlook is how much silence is used in the game. In modern gaming, there’s a tendency to fill every second with sound to keep the player "engaged." But in the world of Joel and Ellie, silence is terrifying. When the music does show up, it carries a heavy weight. Think about the track "All Gone (No Escape)." It’s heartbreaking. It doesn't play during a big battle; it plays when the emotional stakes are so high that words aren't enough.
The music acts as a bridge between the player and the characters' internal states. When Joel is feeling closed off and hardened, the music is sparse and percussive. When Ellie’s innocence starts to flicker or when she experiences moments of wonder—like the famous giraffe scene—the score opens up. It breathes.
📖 Related: The Dawn of the Brave Story Most Players Miss
The Last of Us Part II: A Darker Resonance
If the first game was about love, the second is about hate. Or, as Druckmann says, the "pursuit of justice at any cost." This shift meant the The Last of Us music had to evolve. Santaolalla returned, but this time he was joined by Mac Quayle.
Quayle is known for his work on Mr. Robot, and he brought a much darker, industrial, and synth-heavy vibe to the table. This wasn't about the dusty roads of the American West anymore. It was about the rain-soaked, claustrophobic streets of Seattle.
The contrast between Santaolalla’s organic strings and Quayle’s oppressive electronic textures creates this incredible tension. It’s uncomfortable. It’s supposed to be. When you’re playing as Abby or Ellie during their most violent moments, the music feels like it’s vibrating in your skull. It’s rhythmic, tribal, and aggressive.
- The Banjo: You might have noticed the banjo popping up more in Part II. It’s such a specific choice. It feels Americana, but in a way that’s twisted and sharp.
- The Acoustic Guitar: This became a literal gameplay mechanic. You aren't just listening to the music; you’re making it.
- The Tension: Mac Quayle’s tracks like "The Hunt" are masterclasses in building anxiety without using a single jump scare.
The "Future Days" cover by Pearl Jam is probably the most significant piece of licensed music in the entire series. It’s Joel’s song to Ellie. "If I ever were to lose you, I’d surely lose myself." It’s literal. It’s foreshadowing. It’s the emotional anchor of the entire sequel.
Why the HBO Show Kept the Score
When HBO decided to adapt the game, there was a lot of debate about what should stay and what should change. One thing that was never up for negotiation? Gustavo Santaolalla.
The showrunners, Craig Mazin and Neil Druckmann, knew that you can’t have The Last of Us without that specific sound. They did add new layers, though. The use of 80s pop—specifically Depeche Mode’s "Never Let Me Down Again"—in the first episode was a stroke of genius. It used the context of the era to build a coded language.
But the core of the show’s identity remains that ronroco. Even for people who never touched a controller, that music signaled that this wasn't your average "zombie show." It felt prestige. It felt grounded.
The Technical Brilliance of the Soundtrack
Let's geek out for a second on the actual composition. Santaolalla doesn’t write music in the traditional sense; he doesn't use sheet music or MIDI. He plays. He improvises. He captures a feeling.
👉 See also: Why the Clash of Clans Archer Queen is Still the Most Important Hero in the Game
Most of the tracks are in minor keys, which naturally evoke sadness or longing. But it’s the timbre—the actual texture of the sound—that does the heavy lifting. He uses a lot of "vibrato" and sliding notes. On a guitar, when you slide between notes, it sounds like a human voice crying. It’s a technique called portamento, and it’s all over the The Last of Us music.
Also, the percussion isn't your standard drum kit. It’s muted, thumping, and often sounds like a heartbeat or footsteps. It keeps the player grounded in the physical reality of the world. You aren't a superhero; you’re a tired man in his 50s trying to survive. The music never lets you forget that.
Misconceptions About the Score
People often think that "sad music" is easy to write. Just play some slow chords on a piano, right? Wrong.
What makes this soundtrack work is its restraint. A lot of composers would have over-scored the death of Sarah or the ending of the first game. Santaolalla knows when to stop. He knows that sometimes, a single note held for a few seconds is more powerful than a 60-piece orchestra.
Another misconception is that the music is purely "folk." While it uses folk instruments, the structure is much more experimental. It borrows from ambient music, post-rock, and even traditional South American styles. It’s a hybrid. It’s something entirely new.
The Legacy of the Sound
You can hear the influence of this score everywhere now. Ever since 2013, "prestige" games have been chasing this vibe. Look at the God of War (2018) reboot or A Plague Tale. There’s a shift toward intimate, character-driven scores that prioritize emotion over spectacle.
Santaolalla proved that gamers have an appetite for sophisticated, challenging music. We don't just want to feel "hyped." We want to feel... everything.
How to Experience the Music Today
If you really want to appreciate the work that went into this, don't just listen to it through your TV speakers.
✨ Don't miss: Hogwarts Legacy PS5: Why the Magic Still Holds Up in 2026
- Vinyl Releases: Mondo has released some incredible vinyl pressings of both the Volume 1 and Volume 2 soundtracks. The analog warmth of vinyl actually suits Santaolalla’s style perfectly.
- The Last of Us Part II Remastered: If you play the "Lost Levels" or the "Guitar Free Play" mode, you can see how the developers integrated the music into the physics of the world.
- Live Performances: Keep an eye out for "The Game Awards" or "Game ON!" concert series. Seeing the main theme performed live on a ronroco is a religious experience for any fan.
The The Last of Us music isn't just a collection of songs. It’s a map of Joel and Ellie’s relationship. Every time that guitar twangs, you aren't just hearing a melody; you’re remembering the first time you saw the Colorado forest or the last time you saw a certain porch in Jackson.
It’s rare for a soundtrack to become so synonymous with a franchise that it becomes inseparable from the imagery. You can’t see a clicker without hearing those clicking sounds, and you can’t see a cracked acoustic guitar without hearing Gustavo’s strings.
To truly understand the impact, you have to look at the community. Thousands of fans have learned to play "The Choice" or "Main Theme" on their own guitars. It’s a way for people to process the heavy themes of the game. It’s a way to stay connected to these characters long after the credits roll.
Next time you jump into the game or re-watch the show, pay attention to the moments where there isn't any music. Notice how the silence builds the pressure, and then feel how the music releases it. That’s the magic of this score. It’s not just playing along with the story; it’s telling its own story.
For those looking to dive deeper into the technical side, check out the "Grounded" making-of documentary. There are segments where you can see Gustavo in his studio, surrounded by instruments most people couldn't even name, just feeling his way through the world of the Cordyceps. It’s a reminder that the best art doesn't come from a formula. It comes from an instinct.
Actionable Next Steps:
- Listen to the "The Last of Us Part II" covers: Search for the official covers of "Wayfaring Stranger" and "Through the Valley." They provide a massive amount of context for the characters' mindsets.
- Invest in open-back headphones: To hear the spatial detail and the "room sound" Gustavo recorded, open-back headphones provide a much wider soundstage than standard earbuds.
- Explore Gustavo Santaolalla's other work: If you love this vibe, check out his score for the movie Babel or Brokeback Mountain. You’ll hear the origins of the "The Last of Us sound" in those earlier works.
- Try the Guitar Free Play mode: In the Part II Remastered version, spend some time with the different character filters (like Joel or Gustavo himself). It’s the best way to interact with the sound design directly.
---