Bluey composer reveals why he refuses to “dumb down” orchestral music for children

This article first appeared in Radio Times magazine.

As beautiful as a Mahler symphony is, I wouldn't expect a young child to sit through an 80-minute performance in a concert hall. The capacity of children to enjoy classical music, however, is so often underestimated.

That’s why, when composing Bluey – the smash hit TV series that follows Bluey, a lovable, inexhaustible blue heeler dog alongside her mum, dad and her little sister Bingo – I weave elements of Vivaldi, Holst, Mozart, Bizet, Bach and Ravel into the soundtrack. I don't dumb down and I hope that by taking this approach to enhance the wonderful and clever animation, we’ve helped create a new generation of classical music fans.

Bluey has become a phenomenon since it first aired in 2018 and its success, with parents as well as children, has taken us by surprise. As well as being a hit in the UK, Australia (where Joe Brumm created the series) and around the world, it was the most‑streamed show in the US in 2024 and 2025. Its music has a life of its own, passing over a billion streams last summer.

Over time, we've put so much classical music on a pedestal. But it wasn’t all composed to be heard in a cavernous concert hall. So much of Mozart is fun and cheeky. In Bluey we rearrange and sprinkle in elements of classical music to try make it fun again – it’s like putting caviar on ice cream.

Across the programme you can hear Beethoven's Ode to Joy while Bluey learns to ride a bicycle in the episode Bike, Holst’s Jupiter, often known as I Vow to Thee, My Country, accompanies Bingo as she learns to sleep by herself in Sleepytime, and Tchaikovsky’s Waltz of the Flowers from The Nutcracker features as the girls try to get the best lick of the ice-cream cone in Ice Cream.

Children can enjoy complex music, thanks to their imagination. Of course, there are different rules: you never want to give the young viewers a jump-scare or make it feel too frightening. Compositions can be weird, or unresolved, but they must make a point, and there must be clarity of purpose.

Young children don’t have preconceived ideas of what constitutes music, or a sad or happy note. My 19-month-old daughter will dance to the sound of the coffee machine in our kitchen going "chug, chug, chug". She also enjoys listening to Ravel as much as the Wiggles.

I had limited experience in writing for children’s shows when I was asked to compose the soundtrack. But seeing the opening sequence – portraying a game of musical statues to introduce each character – made it click for me.

It perfectly sums up what the show is about: the importance of play shared by kids and parents alike.From the outset, I’ve wanted to use real musicians on the soundtrack, even if we didn’t have the budget at the time to hire them. I often write for specific musicians I know, whose way of playing I love. For example – when I’m writing for our violinist, Youka, I’m not just writing for violin. I’m writing for Youka. I also like using imperfect instruments that have a lot of character. For me, the imperfections add to the humanity.

Creating the new orchestral album Bluey: Up Here has been a huge endeavour involving more than 100 musicians – 54 in the orchestra, plus a chamber orchestra. Computerised orchestras sound great now, and you can do amazing things digitally, but it doesn’t replace the magic of music played by human beings.

I hope more children get into classical music early – music that requires listening can do so much for young brains and can shape listening habits for life, enriching their lives as they grow up.

The emotional pay-off of classical music can be life-changing and the success of a show like Bluey makes it clear that there is enjoyment of, and a demand for this amazing art form.

Read more: Bluey defeats Stranger Things and more as most-streamed TV series of 2025

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