SCL Awards Celebrate Cinematic Sound: Göransson and EJAE Lead 2026 Winners

By BlockReel Editorial Team Industry Insights February 7, 2026

SCL Awards Celebrate Cinematic Sound: Göransson and EJAE Lead 2026 Winners

The Society of Composers and Lyricists (SCL) annual awards ceremony, held at the Skirball Center in Los Angeles, once again brought into sharp focus the often-understated, yet undeniably critical, role of original music in visual media. Co-hosted by Kevin Bacon and Emmy-winning composer Michael Bacon, the 7th iteration of the SCL Awards saw Ludwig Göransson and EJAE emerge as leading honorees, underscoring the enduring power of a well-crafted score and an incisive song to elevate narrative and emotional resonance.

Göransson, a name whispered with reverence in composing circles for his singular ability to meld disparate sonic textures, secured two SCL Awards for his work on “Sinners.” To walk away with honors for both Outstanding Original Score for a Studio Film and Outstanding Original Song for a Dramatic or Documentary Visual Media Production for “I Lied to You” (co-written with Raphael Saadiq) suggests a comprehensive grasp of a project’s sonic architecture, from thematic development to lyrical precision. This dual recognition is not merely a testament to his individual skill but also a nod to the collaborative synergy he evidently fosters, further highlighted by the Spirit of Collaboration Award presented to Göransson and “Sinners” director Ryan Coogler. For those of us who have witnessed the sometimes-fractious dynamics in development meetings trying to define a film’s musical identity, or the inevitable push-and-pull between composer and director, such an award acknowledges a harmony that is as rare as it is vital. It’s a reminder that truly impactful scores are not just dropped onto a film but grow organically from a shared vision, a synchronized understanding of emotional beats and narrative intent.

While Göransson's continued recognition for weighty, dramatic undertakings is perhaps unsurprising to those tracking his career, the breakout success of EJAE for “KPop Demon Hunters” offers a compelling counterpoint. EJAE, alongside Mark Sonnenblick, won for Outstanding Original Song For A Comedy Or Musical Visual Media Production with “Golden.” This win not only signals a broadening embrace of diverse musical forms within the industry, but also highlights the escalating importance of popular music idioms in creating memorable, culturally relevant cinematic experiences. From the integrated musical sequences of classic Hollywood to the needle drops that define modern indie cinema, the original song’s role remains paramount. Yet, crafting a song that functions both as a standalone track and an integral part of a narrative's comedic or musical fabric requires a precision often overlooked. It’s a delicate balance; too much self-indulgence and it breaks the spell, too little and it becomes forgettable. EJAE’s commendation suggests a mastery of this nuanced artistic tightrope walk.

The SCL Awards, however, extend far beyond the marquee categories, offering a panoramic view of sonic excellence across various formats. Bryce Dessner’s win for Outstanding Original Score for an Independent Film for “Train Dreams” brings much-needed attention to the independent sector, where often resource limitations belie profound artistic ambition. Independent cinema frequently provides a fertile ground for experimentation, allowing composers greater latitude to explore unique palettes and unconventional approaches. Dessner’s recognition here speaks volumes about the quality of work being done outside the studio system, work that sometimes finds itself overshadowed by larger marketing campaigns. It raises the perennial question: what would more independent filmmakers achieve with robust sonic frameworks, considering the demonstrable narrative lift a strong score provides?

On the television side, which has arguably become the new frontier for intricate narrative and character development, Theodore Shapiro took home the award for Outstanding Original Score For A Television Production for “Severance.” This particular nod is significant as television scoring demands a marathon-like endurance from composers, sustaining thematic motifs, developing character arcs through sound, and often navigating the vagaries of episodic production schedules. Understanding the complete sound design workflow from script to final mix is essential for appreciating how composers like Shapiro integrate their work within the broader sonic architecture. “Severance,” with its distinctive tone and often disorienting narrative, would have undoubtedly benefited from a score that could both ground and unsettle its audience, and Shapiro's win confirms that achievement.

Adding another layer to the TV acknowledgements, Cristóbal Tapia de Veer secured the Outstanding Original Title Sequence For A Television Production for “The White Lotus.” Title sequences, often the first impression a viewer gets, are miniature symphonies of visual and aural storytelling. They set the tone, tease themes, and, in the best cases, become iconic in their own right. Tapia de Veer's work on “The White Lotus” is widely lauded for its ingenious blend of unsettling beauty and foreshadowing, proving that a successful title sequence is not merely decorative, but a critical narrative gateway. It’s a reminder that every frame and every note, even before the main story unfolds, contributes to the overall cinematic experience.

The evening also paid homage to history, commemorating the 50th Anniversary of “Rocky” with a musical tribute. This segment, featuring an earnest performance conducted by Academy Award-winning composer Bill Conti, who famously scored five films in the franchise and co-composed the indelible “Gonna Fly Now,” serves as a potent reminder of cinema's rich musical lineage. The enduring power of that theme, capable of instantly conjuring images of raw determination and underdog spirit, is a testament to the alchemy of sound and image that composers strive for. It shows us that a powerful score doesn’t just accompany a film; it becomes irrevocably intertwined with its cultural identity. We’ve all seen films where the score is so dominant, it pulls us out of the experience; but when it's done right, like in "Rocky," it becomes the very fabric of the story.

The "In Memoriam" segment, featuring Melissa Manchester performing “I’ll Never Say Goodbye” (her Oscar-nominated song from the 1979 film “The Promise,” written by David Shire and the late Alan Bergman and Marilyn Bergman), served as a poignant pause, honoring those whose contributions to the sonic tapestry of cinema are deeply missed. The inclusion of Alan Bergman, who passed in 2025, during this segment further underscored the SCL’s commitment to acknowledging the full breadth of talent that shapes our cinematic and television soundscapes. These moments of remembrance are crucial, allowing the industry to reflect on the giants upon whose shoulders today's practitioners stand.

Finally, the David Raksin Award For Emerging Talent, presented to Ching-shan Chang for “Laws Of Man,” offers a glimpse into the future. Recognizing emerging talent is not just about celebrating potential; it’s about signaling what’s next, what new voices will shape the sounds of tomorrow. For composers navigating a landscape often dominated by established names, such an award can provide invaluable momentum and recognition. It highlights the ever-evolving nature of cinematic sound and the continuous influx of fresh perspectives.

As the industry grapples with evolving distribution models and technological shifts, the SCL Awards reaffirm that, regardless of how or where content is consumed, the fundamental craft of sculpting sound to enhance storytelling remains an indispensable art form. Whether it is the sweeping orchestral dramatics of a studio tentpole, the intimate sonic textures of an indie darling, the complex thematic structures of a long-form television series, or the infectious energy of a pop anthem, these composers and lyricists are the architects of our emotional responses, the unseen narrators who guide us through cinematic worlds. Without their distinct contributions, films and television shows would undoubtedly feel... just a bit less. And let's be honest, who wants that?

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