How music drives the story of Love Island: “One song can change an entire scene”
Whether it is a serious drama film, a family entertainment show or an addictive reality TV series, music is almost always a key element of audiovisual storytelling – even when viewers are not consciously aware of it.
Well-chosen music can highlight the significance of a single moment, build tension or offer the viewer a moment to breathe between intense scenes. It can also draw the viewer into a world that visuals and dialogue alone cannot always fully create.
Driving the rhythm and conveying emotion
Music is also a central element in the Love Island Finland reality TV series.
According to editor Jussi Kärnä, the role of music is closely linked in particular to the rhythm of storytelling and the way the narrative unfolds.
“The programme is largely based on one-on-one conversations. Music provides an important moment to breathe between them and, at the same time, helps the viewer process what they have just heard. Once the key points have been said and it’s time to take them in, the role of music becomes more prominent,” Kärnä explains.
Music can be used to reflect the themes of the discussion or to reinforce emotional states. Executive producer Heidi Munkberg notes that this is one of the most important functions of music.
“Music actively amplifies emotions. With the right track, you can highlight joy, attraction, emotion or even disappointment.”
At its best, a successful music choice can take the story to an entirely new level:
“One song can change an entire scene,” Kärnä says.
A wide selection
Music is used in a versatile way in Love Island Finland for different moments and purposes.
Catalogue music intended for commercial use is largely instrumental, with melody, rhythm and overall mood playing a key role in creating the atmosphere.
Lyrics, in turn, can support the story on a deeper level.
“Especially lyrics in Finnish-language tracks help open up and deepen the story further,” Munkberg explains.
Love Island Finland features an exceptionally wide range of domestic music. Episodes include everything from timeless classics to brand new discoveries from the indie scene.
“We also want to use new music in the programme that reflects the current moment. It is one way of signalling to the viewer that the programme is timely and happening now,” Munkberg says.
According to her, the tracks featured in the programme do not need to be previously well known.
“The programme also includes new and emerging music. At its best, it can highlight new creators and help grow their audience. Many viewers have told us they have discovered new music for their own playlists through the show.”
In the end, it is not the familiarity of a track that matters most – but the right mood.
“A track can be delicate, humorous or dramatic, but it has to match the mood of the moment,” Kärnä sums up.
A team effort
Choosing the right track requires a keen ear, strong intuition and a deep understanding of the music field. The editor makes the final selection, but ideas are constantly shared within the team.
“It’s a very human and collaborative process. Everyone can suggest tracks and solutions,” Kärnä says.
According to Munkberg, tracks are sourced and discovered through many different channels. The team makes its own discoveries, but suggestions also come from record companies and directly from music creators themselves.
“We welcome suggestions openly and add them to our lists. From there, editors can pick them for suitable scenes if they wish.”
Although tracks are explored in advance, many decisions are ultimately made in the moment.
“We don’t create a predefined list of tracks for the programme, nor do we automate the choices. There are tools and idea banks, but the final decisions are often made quite intuitively in the moment,” Kärnä explains.
A successful choice adds value to the story – and at its best, creates a powerful experience for the viewer.
“Our job is to tell stories and convey emotions. If someone discovers a new track through the programme and feels something because of it, then we have succeeded.”
“The use of music is not free”
According to Munkberg, the music selections have received a great deal of positive feedback.
“We’ve received praise from both artists and viewers. In particular, we’ve been thanked for using real music in the programme.”
This is not a given. The use of music is also shaped by practical constraints. In audiovisual productions, using music requires that all licences are in place – and that, in turn, requires financial resources.
“The use of music is not free. We work within an overall budget,” Munkberg explains.
Building the overall soundscape therefore requires careful planning. It is essential to know in advance how the programme will be distributed – on which channel and on which platforms it will be shown. In addition, the use of music is closely monitored throughout the production process from a budget perspective.
There are also situations where budget limitations come into play.
“I would like to use even more Finnish music. However, acquiring the necessary rights inevitably sets certain limits from a budget perspective,” Munkberg says.
According to Kärnä, even the current level of domestic music use is not a given in this kind of format.
“That’s why it’s great that it is featured in the programme – and it would be great to hear even more of it in the future.”
Both Munkberg and Kärnä see domestic music as bringing significant added value to Love Island Finland.
“Our job is to create meaningful Finnish content for Finnish audiences. The best way to do that is by using Finnish music,” Kärnä says.
