Tulsa King Season 3: The Role of Music and Soundtrack in Building Tension

As an avid observer of television’s craft, I’ve always been particularly attuned to the nuanced ways in which sound design and musical composition elevate storytelling. In the world of “Tulsa King,” the series starring Sylvester Stallone as New York mob capo Dwight “The General” Manfredi, the role of music and its accompanying soundtrack isn’t merely background noise; it’s a vital, almost sentient character that subtly, yet powerfully, steers the narrative and amplifies the underlying tension.

With “Tulsa King Season 3” having just premiered on September 21, 2025, I’m reflecting on how this critical element has shaped our viewing experience and anticipating its continued impact.

The Unseen Character: Music’s Foundation in Tulsa King

From its very inception, “Tulsa King” established a distinctive sonic identity. The original score, crafted by the accomplished duo Danny Bensi and Saunder Jurriaans, known for their work on series like “Ozark” and “Tokyo Vice,” plays a pivotal role in grounding the show’s unique blend of fish-out-of-water comedy and gritty crime drama.

I find their compositional approach to be remarkably effective, intertwining modern orchestral and electronic textures with a rustic, Western-inspired flair. This fusion, often featuring blues or rock instruments, creates a compelling auditory landscape that mirrors Dwight Manfredi’s journey from the concrete jungle of New York to the expansive, often unpredictable, plains of Oklahoma.

The main title theme, for instance, immediately immerses us in Dwight’s world. It possesses a “bluesy and energetic” quality that hints at both his weary past and his unwavering resolve to establish a new empire in an unfamiliar territory.

This blend of weary blues and determined energy sets an immediate tone, suggesting the inherent conflict and potential for friction that defines Dwight’s new life. I see this main theme as a microcosm of the show’s broader musical strategy: it’s both a lament for what was lost and an anthem for what is being built.

Orchestrating Suspense: How the Soundtrack Builds Tension

In my analysis, the genius of “Tulsa King’s” score in building tension lies in its ability to adapt and evolve with the narrative. Bensi and Jurriaans utilize various techniques to underscore moments of suspense:

• Atmospheric Drones and Dissonance: When Dwight finds himself in a precarious situation, or when an unforeseen threat emerges, the score often shifts towards sustained, low-frequency drones or subtly dissonant harmonies. These elements create a palpable sense of unease, suggesting danger lurks just beneath the surface without overtly telegraphing it.
• Rhythmic Pulsations: As confrontations escalate or time-sensitive events unfold, I’ve observed the introduction of increasingly insistent rhythmic pulses. These can range from subtle percussive elements to more pronounced, driving beats, mirroring the character’s rising heart rates and imparting a sense of urgency to the viewer.
• Motif Development: The composers skillfully employ recurring musical motifs associated with specific characters or factions. When these motifs are subtly introduced or distorted in unexpected contexts, they can signal impending conflict or betrayal, building psychological tension as the audience anticipates what’s to come.
• Dynamic Range: I also notice the use of dynamic shifts—sudden drops in volume followed by explosive crescendos—to create jump scares or emphasize the suddenness of violence. This ebb and flow of intensity keeps the audience on edge, never quite sure when the next moment of high drama will strike.

The score’s ability to seamlessly transition between these tension-building techniques is what makes it so effective. It’s rarely a blunt instrument but rather a finely tuned mechanism that manipulates our emotional responses, drawing us deeper into Dwight’s struggles and triumphs.

Beyond the Score: Source Music and Atmosphere

Beyond the original score, the careful selection of licensed “needle-drop” tracks, overseen by music supervisors Andrea von Foerster and Thomas Golubic, significantly contributes to the show’s atmosphere and tension. “Tulsa King” is notable for its “omnivorous” approach to source music, incorporating hip-hop, rock, and a “heavy dose of country” music. This eclectic mix often serves a dual purpose:

• Juxtaposition for Impact: I’ve seen how a seemingly innocuous country tune might play over a scene of simmering violence, creating a jarring contrast that heightens the underlying tension. Conversely, an upbeat rock track might accompany Dwight’s moments of triumph, providing a momentary release before the next challenge arises.
• Cultural Immersion and Character Development: The choice of music also grounds the series in its Oklahoma setting, with country artists like Marcus King, Luke Combs, and Chris Stapleton frequently featured. This not only authenticates the environment but also provides insight into the local culture Dwight is attempting to navigate, sometimes adding to the comedic tension of his cultural clashes. When Dwight asks a driver to turn down a hip-hop track, for instance, it highlights his old-school sensibilities colliding with modern Tulsa.

This strategic use of source music creates layers of meaning and emotion, enhancing both the immediate scene and the broader narrative arc, often building tension through cultural dissonance or foreshadowing.

Anticipating the Sonic Landscape of Tulsa King Season 3

With “Tulsa King Season 3” now upon us, I anticipate that the music and soundtrack will continue to be a crucial force in building tension. The new season promises heightened stakes for Dwight Manfredi, as he confronts not only a rival mob, the Renzetti family, but also a formidable new antagonist in Jeremiah Dunmire, played by Robert Patrick.

Additionally, the introduction of Samuel L. Jackson as a former prison acquaintance of Dwight’s suggests further complexities and potential dangers.

In this context, I expect Bensi and Jurriaans’ score to become even more intricate, perhaps introducing new motifs for the Renzetti family or a darker, more menacing theme for Dunmire. The blend of modern and Western-inspired sounds, which effectively captured the initial culture shock and burgeoning criminal enterprise, will likely evolve to reflect the more entrenched and dangerous conflicts Dwight faces.

I imagine the musical tension will amplify during confrontations with these new threats, utilizing sharper dissonances, more aggressive rhythms, and perhaps a heavier reliance on electronic elements to underscore the ruthlessness of the new adversaries.

Furthermore, I believe the selection of source music will continue to play a role in reflecting Tulsa’s evolving criminal underworld. As Dwight’s empire grows, the juxtaposition of his “old-world” sensibilities with the “new-world” sounds of Tulsa will likely create new avenues for both comedic and dramatic tension, effectively reflecting the precarious balance he must maintain.

Conclusion

The music and soundtrack of “Tulsa King” are undeniably integral to its success, acting as a powerful tool for building tension, defining atmosphere, and enhancing character arcs. From the “bluesy and energetic” main title to the carefully curated “needle-drop” tracks and the dynamic original score, every auditory choice serves to immerse the viewer deeper into Dwight Manfredi’s world.

As “Tulsa King Season 3” unfolds, I am eager to observe how this expertly crafted sonic landscape continues to evolve, pushing the boundaries of suspense and enriching our understanding of the ongoing struggle between tradition and transformation in the heart of Oklahoma.