Christian Henson Talks My Brother the Minotaur Score, Celtic Influences, and Why Fantasy TV Still Matters

Fantasy television lives or dies by immersion. If the world feels fake, audiences check out faster than a streaming service canceling a beloved sci-fi series after one season. Thankfully, My Brother the Minotaur understands the assignment, and composer Christian Henson may be one of the biggest reasons why.

During an interview with The TV Cave, Henson opened up about crafting the musical identity behind the Apple TV fantasy series, revealing how folk traditions, Celtic instrumentation, and pure storytelling instincts shaped the sound of the show. The result is a score that feels ancient, emotional, and occasionally unsettling in the best possible way. Basically, if your Spotify algorithm suddenly starts recommending atmospheric flute music after watching the series, blame him.

Henson explained that his involvement began through longtime collaborator Maggie Rodford, the show’s music supervisor. Originally, the plan included a blend of traditional score and licensed songs, but the creative team quickly realized modern needle drops would pull viewers out of the fantasy world faster than hearing a TikTok remix during a medieval battle sequence.

Instead, Henson and the production team created an entirely original musical landscape, including 26 original songs for the series. Casual flex.

What makes the My Brother the Minotaur soundtrack stand out is its heavy use of folk-inspired instrumentation and performance techniques. Henson described the show’s sonic identity as “folk John Williams,” which honestly tells viewers everything they need to know. Sweeping emotion meets earthy tradition, with enough tension underneath to remind audiences that danger is always lurking nearby.

The composer drew inspiration from Scotland’s thriving folk music scene after relocating to Edinburgh years earlier. That influence can be heard throughout the score through Celtic whistles, clarsach harps, layered percussion, and expressive fiddle playing. Henson also highlighted the use of the bodhrán drum, a traditional Irish frame drum that became a centerpiece of the soundtrack’s pulse and intensity.

And yes, there is apparently a difference between a violin and a fiddle. According to Henson, it is less about the instrument itself and more about the playing style. Somewhere, every former middle school orchestra student just sat up a little straighter.

What resonates most about Henson’s approach is how deeply tied it is to storytelling rather than technical musical theory. The composer admitted he never formally learned to read music and instead relies on instinct, collaboration, and emotional narrative when building a score. For Henson, the conversation is never about which note to play. It is about what the audience should feel in a scene.

That philosophy fits My Brother the Minotaur perfectly. The series leans heavily into fantasy escapism while balancing darker emotional undercurrents. Henson noted that both he and the show’s creative team wanted moments of fear to feel genuinely frightening rather than watered down for younger audiences. It gives the series emotional weight without losing its sense of wonder.

The composer also revealed the project became deeply personal during production, particularly after losing his mother during the COVID era. Working on the series offered him a sense of escape and comfort during an incredibly difficult time, something he hopes audiences experience as well when watching the show.

Henson’s musical inspirations range from Stevie Wonder to minimalist composer Steve Reich, with legendary film composer Bernard Herrmann topping his cinematic influences. That blend of accessibility, experimentation, and emotional storytelling is embedded throughout My Brother the Minotaur.

Fantasy fans are constantly searching for worlds they can disappear into for an hour, especially when reality feels exhausting enough already. My Brother the Minotaur succeeds because it understands escapism is not fluff. It is survival. And thanks to Christian Henson’s immersive score, Apple TV may have quietly delivered one of the most emotionally rich fantasy soundscapes currently streaming.

Now excuse us while we go search for Celtic playlists and pretend we are wandering through enchanted forests instead of answering emails.

Check out our full interview below: