I walked into “Sinners” fully prepared to peak through my fingers during the majority of the movie. I must admit, I am not a horror fan, but the interesting storyline and my love for Ryan Coogler’s work gave me courage. So I’m happy to report to any other scaredy cats: It’s worth it. The story, the acting, and the cinematography are a 10/10 (something I could dive into for ages). But what the music of the film really took me. So, in the interest of time (and our sanity) I’d like to focus on the music of “Sinners”.

“Sinners” is a genre-bending historical fiction with horror and thriller elements that immerses viewers in a world of music and storytelling from start to finish. The film is set in Clarksdale, Miss. in the year 1932 and begins with Sammie (newcomer and tremendous talent Mile Canton), son of a preacher and a young Blues prodigy with a rich and timeless voice. Sammie’s cousins, infamous identical twin gangsters, Smoke and Stack (both expertly portrayed by Micheal B. Jordan) have returned home from Chicago to open a juke joint where Sammie will perform. We follow the twins and Sammie as they gather friends, ex-lovers, and other musicians to assist with the juke joint’s opening night. All is going well until a strange man named Remmick (Jack O’Connell, who I became a fan of in the British series “Skins”) arrives that night bringing chaos with him.

If the storyline of this film was a house, music would be the foundation. Writer and director Ryan Coogler had numerous influences and inspirations for the film, but the music seems to come from a very personal place. Ryan Coogler’s interest in Delta Blues, which originated in a specific part of the Mississippi Delta region, came from his late Uncle James. His uncle, originally from Mississippi, was a part of the Great Migration of African Americans leaving the south between 1910 and 1970. Even though he’d left the south, the Delta Blues came with him, and later became the music he shared with Ryan. Uncle James passed away during Coogler’s work on “Creed II” and he still has some regret for not having time to spend with his uncle while busy with the film. Coogler continued to listen to his uncle’s music after his passing, feeling his presence in the music almost like magic.

With such importance placed on the music, Coogler again worked with close friend and Oscar winning composer Ludwig Göransson. The two, along with Göransson’s Blues-loving guitar teacher father, took a trip on the Blues Trail while researching the film. Like the film’s genre, the music is also genre bending with the inclusion of Blues, R&B, Folk, and Gospel. The song that most exemplifies this intertwining is I Lied to You, cowritten by the legendary Raphael Saadiq, and performed by Miles Canton in a very moving scene. The cinematography and song took me on an adventure through time that overwhelmed and moved me to tears. The song journeys through the evolution of Delta Blues throughout time and seamlessly tells a story of the interconnected nature of music and people. Mr. Saadiq is no stranger to genre exploration and perfectly created this masterpiece along with Göransson top tier writing and production.

Göransson also worked with Brittany Howard of the Alabama Shakes to create Pale, Pale Moon for the soundtrack. The Rock, Blues, and Country fusion track is performed by the beautiful and talented Jayme Lawson who portrays Perline in the movie. She embodies strength and sexuality in her performance as she dances alongside band members. O’Connell’s musical talent should not be discounted, as he leads a folk rendition of Pick Poor Robin Clean with newly turned vampire buddies Joan and Bert (Lola Kirke and Peter Dreimanis). His performance of Rocky Road to Dublin set the tone of the vampires communal nature as Irish folk is a genre meant for a group to clap, snap, sing, and dance to together.

Coogler has explained that the musical performances were sang live on set, and I can assure you that live music feeling is captured well in the film. I give thanks to the focus on cinematic elements and a wonderful cast and crew for pulling it off. “Sinners” is unfortunately not a musical, but the music is so integrated into the story that it’s impossible not to reference it. I’m sure the film will go on to receive lots of nominations and awards, but I have hope that the original songs and musical performances from the film will be considered too.