Honestly, if you aren't paying attention to the music in Wellsbury, you’re basically missing half the story. It’s not just background noise. When Ginny and Georgia season 3 songs started hitting our playlists after the June 2025 release, it became clear that music supervisor Jen Ross was doing some serious heavy lifting again. The tracks don't just "fit the vibe"—they are basically spoilers in lyrical form.
The show has always been a bit of a sonic chameleon. One minute we're hearing some obscure indie-pop track that makes you feel like a misunderstood teenager, and the next, it’s a haunting ballad while Georgia does something... well, questionable. Season 3 took that even further. Since Georgia was literally facing a murder trial this time around, the playlist got a lot darker and way more intentional.
Why the Season 3 Soundtrack Hits Different
The music in this batch of episodes feels more mature. Probably because the stakes are higher. We aren't just dealing with high school breakups anymore; we’re talking about actual prison time. When "Find You Out" by Sidney Gish and CLAVVS kicks off the first episode, it sets a tone of exposure. Everyone is looking at Ginny. Everyone knows Georgia’s "secret."
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The contrast is the best part. You have these upbeat, almost manic tracks when the girls are trying to act normal, and then these crushing, quiet songs when the masks slip.
The Heavy Hitters: Songs You Definitely Shazamed
If your phone wasn't out during every episode, did you even watch it? There were a few specific tracks that absolutely dominated the conversation online.
- "Anti-Hero" (Tessa Rose Jackson Cover): This played during that playground scene with Marcus and Ginny. Using a cover of a Taylor Swift song instead of the original felt like a choice. It was softer, more raw. It underscored that feeling of being the "problem" in your own life, which is basically Ginny’s entire personality right now.
- "Back on 74" by Jungle: This was a vibe. It played during Yardfest in episode 4. It’s groovy but has this underlying soulfulness that fits Georgia’s "everything is fine" facade perfectly.
- "Guilty Love" by Ladyhawke & Broods: Talk about being literal. This tracks Georgia’s entrance into the courtroom. It’s punchy, it’s defiant, and it basically says everything she can't say on the stand.
- "The End" by Tom Odell: This one hurt. It showed up in the finale, and let's just say, if you didn't have a tissue ready, that’s on you.
The Musical Theater Meta-Moment
We have to talk about the original songs. Every season, the Wellsbury High theater department puts on a show that mirrors the drama of the real characters. This year, the "Mousse" musical tracks were actually pretty catchy.
"Invisible," the duet between Max and Bracia, was a standout. It’s funny because Sara Waisglass (who plays Max) and Tameka Griffiths (Bracia) have such different vocal styles, but it works. The lyrics about being seen—or not seen—hit a little too close to home for anyone who has ever felt like the side character in their own life.
Breaking Down the Episode Soundtracks
It’s almost impossible to list every single track because there are dozens, but some episodes really leaned into specific genres.
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Episode 1: "This Wouldn't Even Be a Podcast"
This episode used music to show the divide between Georgia’s life in a cell and Ginny’s life at school. While Georgia is dealing with "The Devil" by BANKS, Ginny is trying to survive English class to the beat of "Dancing in the Dark" by LØLØ. It’s a frantic, anxiety-inducing start.
Episode 5: "Boom Goes the Dynamite"
This was a big one for the "G&G" fans who love the moodier stuff. We got "Way Down We Go" by KALEO and "Burn" by Astyria. These aren't happy songs. They are heavy, bass-heavy tracks that signal the walls are closing in.
Episode 10: "Monsters"
The finale was a rollercoaster. Starting with "Awoo" by Sofi Tukker gave it this weird, energetic opening before it spiraled into "Meant to Be" by Ber. The music choices in the final ten minutes were some of the most calculated in the series' history.
The Impact of Indie Artists
One thing I love about this show is how it blows up smaller artists. Remember when "It’s Called: Freefall" by Rainbow Kitten Surprise was everywhere after season 2? Well, they brought them back for season 3. They also featured artists like Remy Bond and Shaya Zamora.
"Cigarette" by Shaya Zamora, which played when Ginny dropped Austin off at school, is a perfect example of how the show uses dark, atmospheric pop to ground the "teen drama" in something that feels much more adult and dangerous.
How to Keep the Vibe Going
If you're looking to recreate that Wellsbury feeling, Netflix usually drops the official score (composed by Lili Haydn and Ben Bromfield) alongside a curated playlist of the licensed tracks. The season 3 score includes titles like "The People v. Georgia Miller" and "Georgia’s Lullaby," which are worth a listen if you want to hear the thematic threads without the lyrics.
Most people just head to Spotify or Apple Music for the "Ginny & Georgia Official Playlist," but if you're looking for the deeper cuts, check out the credits for each episode. Sometimes the best songs are the 30-second transitions that don't make the "Top 40" lists.
Next Steps for Fans:
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- Check the official Netflix Music profile on your streaming service for the high-fidelity versions of the original "Mousse" cast recordings.
- Follow music supervisor Jen Ross on social media; she often posts "behind the song" stories explaining why she chose specific indie tracks for key scenes.
- If a song isn't on the official soundtrack, try searching the lyrics on sites like TuneFind, as many of the background tracks are unreleased demos or library music.
The music of season 3 proves that this show isn't just a soap opera—it’s a carefully crafted audio-visual experience where a single bass line can tell you more about Georgia’s mental state than a three-page monologue ever could.