Manhattan in the late nineties wasn’t just about the Cosmopolitans or the Manolos. It was a sound. Honestly, if you close your eyes and think about Carrie Bradshaw typing away at her window, you probably hear that specific, twinkling Latin-jazz piano riff. It’s iconic. But beyond the theme song, the sex and the city songs that filled six seasons and two movies did something most TV soundtracks fail to do: they acted like a fifth character. They weren’t just background noise. They were the emotional scaffolding for every breakup, promotion, and "I’m moving to Paris" realization.
Music supervisor Salaam Remi and the rest of the production team had a very specific job. They had to make the show feel expensive but accessible. They needed to find tracks that sounded like a $20 cocktail at a rooftop bar in the Meatpacking District. It worked.
The Theme Song That Almost Wasn't
Most people recognize that bossa nova beat immediately. It’s light. It’s bouncy. It’s a little bit cynical. The Sex and the City theme was composed by Douglas J. Cuomo. Fun fact: it wasn't the first choice. Initially, the creators wanted something more "Big Band" or traditional jazz, but the final version perfectly captured the frantic, sparkling energy of the city.
It’s interesting how that one piece of music sets the stage. You hear those first few notes and you know exactly what you’re getting. You’re getting brunch. You’re getting relationship drama. You’re getting New York.
Why the Eclectic Mix Worked
The show didn’t just stick to one genre. That’s the secret sauce. You’d have a scene in a dive bar with gritty indie rock, followed immediately by a high-fashion gala backed by a string quartet. This reflected the reality of New York City. It’s a mess of different sounds.
One moment you’re listening to "Got to Be Real" by Cheryl Lynn while Carrie struts down a runway—and trips—and the next, you’re hearing the melancholic piano of Satie’s "Gnossienne No. 1" as she walks through a lonely apartment. The music told you how to feel when the dialogue wasn't enough. It filled the gaps.
The Most Iconic Sex and the City Songs You Definitely Remember
Let’s talk about "The Big Moments." You know the ones.
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The season four finale, "I Heart NY," features one of the most devastatingly perfect music cues in television history. Carrie and Big are supposed to have their "one last night" before he moves to Napa. Then, Miranda goes into labor. Big leaves a record behind for Carrie. It’s "Moon River" by Andy Williams. When Carrie starts dancing alone in his empty apartment to that song, it’s not just a song anymore. It’s the end of an era. It’s simple. It’s old-fashioned. It’s heartbreaking.
Then there’s the use of Candi Staton’s "You Got the Love." This track became synonymous with the series finale in Paris. As Carrie walks through the streets of New York at the very end, finally content with herself, that disco-gospel energy kicks in. It feels like a victory lap.
- "Labels or Love" by Fergie: The high-energy anthem for the first movie. It’s glossy and commercial, sure, but it perfectly captured the shift from "gritty cable show" to "global blockbuster."
- "Fields of Gold" by Eva Cassidy: Used during the heartbreaking moments of Charlotte’s journey toward motherhood.
- "Canned Heat" by Jamiroquai: Because you can't have a dance scene in the early 2000s without it.
- "By Your Side" by Sade: The ultimate "making up" song for Carrie and Aidan.
The Power of the "Montage" Song
The show loved a good montage. Usually, these were set to upbeat, trendy tracks that defined the era. We’re talking about the height of the lounge music craze. Artists like Thievery Corporation and Groove Armada were staples. These sex and the city songs gave the show its "cool" factor.
Think about the episodes where the girls are just out on the town. The music is pulsing. It’s bass-heavy. It feels like 1:00 AM on a Tuesday. The show runners were geniuses at picking tracks that felt current but wouldn't sound totally dated five years later. Mostly. Okay, some of the early techno stuff is a bit much now, but for the most part, it holds up.
The Nina Simone Factor
If the show had a "soul," it was Nina Simone. Her version of "The Look of Love" and other jazz standards grounded the show. When things got too "fashiony" or superficial, a Nina Simone track would bring it back to earth. It reminded the audience that these were real women with real, heavy emotions.
How the Soundtrack Changed for the Movies
When the show moved to the big screen in 2008, the budget for music exploded. Suddenly, we had Jennifer Hudson (who also starred in the film) singing "All Dressed in Love." The sound became more "produced."
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Some fans felt it lost a bit of that indie, NYC-at-night grit. But the movies needed to be spectacles. The use of "Walk on the Wild Side" by Lou Reed in the second movie was a nod to the show’s roots, even if the setting was halfway across the world. It’s a bit on the nose, but it works because the audience has such a strong emotional connection to the characters.
That Final "And Just Like That" Transition
We can’t talk about the original songs without acknowledging the reboot. While And Just Like That has its own vibe, it occasionally leans back into the musical cues of the original. But it’s different. The world is different. The music is more somber, reflecting the characters’ ages and the loss of Big.
The Practical Legacy of the SATC Soundtrack
People still make "Sex and the City brunch" playlists on Spotify. Why? Because the music represents an aspirational lifestyle. It represents a time before dating apps, when you had to actually go out to a bar to meet someone. The music is social.
If you’re looking to recreate that SATC atmosphere, you need a mix of:
- Classic Jazz: Think Ella Fitzgerald or Nina Simone.
- Early 2000s Lounge: Chill, electronic beats with a world-music influence.
- Powerful Female Vocals: Chaka Khan, Cheryl Lynn, or even some early Beyoncé.
- Dramatic Classical: Don’t be afraid of a little Chopin for when you’re feeling contemplative.
The real magic of the sex and the city songs was their ability to pivot. One minute you’re dancing, the next you’re crying into a pint of Haagen-Dazs. It’s messy. It’s real. It’s New York.
Build Your Own SATC-Inspired Playlist
To get the most out of the "Sex and the City" aesthetic, you should organize your listening experience by "mood" rather than just shuffling everything. The show was very deliberate about how it paired sound with emotion.
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The "Power Walk" Vibes
When you need to feel like you own the sidewalk, look for the high-energy disco and funk tracks used in the show. "Got to Be Real" is the obvious choice here, but also consider "I'm Every Woman." These tracks were used when the characters were at their most confident.
The "Late Night Reflection" Vibes
This is where the bossa nova and the softer jazz come in. Look for the Doug Cuomo cues that aren't the main theme. There’s a lot of subtle, atmospheric piano work throughout the series that works perfectly for working or reading.
The "Heartbreak" Vibes
Don't skip the "Moon River" or the more melancholic indie tracks from the later seasons. The show was never afraid to sit in sadness, and the music reflected that.
The soundtrack is a time capsule. It’s a map of Manhattan's emotional landscape from 1998 to 2004. Even if you aren't a die-hard fan of the plotlines, the music stands alone as a masterclass in television curation. It’s about the city as much as the women.
Go back and listen to the season 6 finale soundtrack. Listen to how the music swells when Carrie finally hears her own name. It's not just a TV show; it's a symphony of a specific time and place.
Next Steps for the SATC Music Enthusiast
- Track Down the Original Soundtracks: There are several official "Sex and the City" soundtrack CDs (and digital versions) that group these songs by theme. "The City" and "The Romance" discs are great starting points.
- Explore Douglas J. Cuomo’s Work: If you love the theme, check out his other compositions to see how he blends jazz with modern TV scores.
- Analyze the Lyrics: Many of the songs were chosen because the lyrics mirrored the episode's "big question" (e.g., "Is there still hope for love?"). Matching the song lyrics to Carrie’s column topics provides a whole new layer of appreciation for the writers’ choices.
- Create a Mood-Based Playlist: Instead of a giant list of songs, break them down into "First Date," "Breakup," and "Night Out with the Girls" to truly capture the SATC experience.