Nick Cave, Fontaines D.C. Members & More Feature on ‘Peaky Blinders: The Immortal Man’ Soundtrack — How the Music Recasts Tommy Shelby’s World

In a dim U. K. cinema, the opening bars of nick cave’s familiar theme slide under the lights as Cillian Murphy’s Tommy Shelby fills the frame — but this time the song blooms into an orchestral twist that makes the room sit forward. That reimagined tremor of a melody is one among 36 tracks assembled for Peaky Blinders: The Immortal Man, a soundtrack built to feel as rough-edged and human as the film’s wartime streets.

What is on the Peaky Blinders: The Immortal Man soundtrack?

The collection spans 36 tracks overseen by musicians and composers Antony Genn and Martin Slattery. It includes five new original compositions alongside covers and the film’s menacing score. Members of Fontaines D. C. appear extensively, and the soundtrack also incorporates existing singles from that band, including “A Hero’s Death” and “Romance. ” Frontman Grian Chatten leads on a number of original pieces such as “Puppet, ” and contributes a cover of Massive Attack’s “Angel. ” Bandmates Carlos O’Connell (guitar) and Tom Coll (drums) perform elsewhere on the record.

Other notable contributions reshape familiar material for the screen: nick cave’s “Red Right Hand, ” the television series’ signature theme, returns in a haunting new version with an orchestral twist, and Amy Taylor of Amyl and The Sniffers takes lead vocals on the bouncing track “Nobody’s Son. ” The soundtrack is presented as more than background music — it is woven into the film’s identity.

How Nick Cave fits into the film’s musical identity

Nick Cave’s presence on the album is both literal and symbolic: the reworked “Red Right Hand” ties the movie back to the television series’ aural DNA while the orchestral treatment reframes it for the big screen. The film itself — starring Cillian Murphy in the lead role of Tommy Shelby alongside Barry Keoghan, Tom Roth and Stephen Graham — moves the Shelby family into the second World War, and the soundtrack reflects that shift by expanding textures and tonal range.

Antony Genn and Martin Slattery described their guiding intention plainly: they wanted to make “dirty, gritty music. ” Antony Genn expanded on that stance, saying, “This isn’t meant to sound derogatory to any of the brilliant film composers out there working, but even this isn’t just big, grand Hollywood music. Far from it. It’s got a lot of guts and the feeling of the human hand, brought to you by a lot of brilliant human hearts, minds and souls. ” That emphasis on hands-on sonics helps explain why a song associated with one medium can be reshaped to serve another.

Who shaped the soundtrack and why does it matter?

The soundtrack was helmed by Antony Genn and Martin Slattery, who framed the collection to complement Steven Knight’s cinematic vision. As creators and custodians of the film’s soundscape, they tied contemporary artists to the story world: Fontaines D. C. ’s aesthetic and selected existing singles bridge the familiar and the new, while guest performers add narrative color. The result is a record that aims to be tactile and character-driven rather than purely orchestral spectacle.

Peaky Blinders: The Immortal Man is the first big-screen adaptation of the series that ran on television from 2013 to 2022. The film opened in U. K. cinemas for a limited engagement on March 6 (ET) and is scheduled for release on Netflix on March 20 (ET). By treating the soundtrack as a narrative device, the production positions music as part of the film’s storytelling apparatus rather than a separate promotional layer.

Back in that darkened theater, the reworked theme — where nick cave’s signature melody meets a swelling orchestra — complicates memory and expectation. It is familiar and uncanny at once, a small invention that reorients the character viewers thought they knew. Whether listeners come for Fontaines D. C., for new songs credited to Grian Chatten, or for the return of a theme that helped define a series, the soundtrack stakes a claim: in this film, music is not simply accompaniment but a way of remapping a narrative’s moral and emotional geography.