The Asset soundtrack guide: A complete list of the music in the Netflix series

What happens when a lean, blade-edged spy drama refuses to let its soundtrack fade into the wallpaper?

In The Asset, the music doesn’t just exist in the background; it communicates through the scenes, sometimes nudging a moment, sometimes grabbing the wheel and steering.

The series premiered on October 27, 2025, on Netflix with all 6 episodes.

It’s hardly accidental that the soundtrack keeps coming up in conversation. The show jumps from fragmentary classical to underground electronics, slips from alt heartbreak to spare piano, and never treats music as mere filler. Those choices do more than tint a frame; they comment on it, underline motive, and when you least expect it, yank the rug so you notice what you’d missed.

---

The official tracklist of The Asset (Netflix series)

Based on verified listings from WhatSong, here are the songs featured in The Asset, the tracks that help shape the show’s mood:

It’s a Sin (2018 Remaster) – Pet Shop Boys

Down by the Water – PJ Harvey

Lyric Pieces, Book I, Op. 12: No. 1, Arietta – Edvard Grieg

winwin – Noah Carter

Party Girl – Michelle Gurevich

Keep Møving – MØ

Good Fellas – Annie Lux

Two Face – ILMA

Fly Boi (CAIVA Remix) – peachlyfe

Don’t Show Me Rainbows – Rupert Pope, Giles Palmer & Eller

Tør Dem Af – Figi

Fly Boi – peachlyfe

Hot Boi – peachlyfe

Like You’re Mine – Holiday Rogers

Buried – Kaaliyah

Friend Zone – King Cooley

We’ll Never Get Old – Kaptain

Arabian Dreams – Sertac Nidai

Dirt Boi – peachlyfe

6 A.M. – Somalia

This Love Is Sweet – Lewis Amoroso

Incorrect Citation – Soft Pxrn

Range Rover – Helena

One Last Time – Sooski

Each selection peels back another layer of the series’ psychological terrain, not decoration, but texture you can almost run your fingers through.

---

The Asset soundtrack mirrors emotion and identity

What sticks is how often the music feels like a mirror to the characters’ interior lives. Pet Shop Boys’ “It’s a Sin” lands like an echo, guilt and secrecy folded into one shimmering track, the perfect counterpoint to scenes where loyalty scrapes against conscience. PJ Harvey’s Down by the Water reads like a confession muttered at 2 a.m.: raw, dangerous, quietly mournful.

Then there’s Grieg’s Arietta, fragile and stubborn in its simplicity. Calm, with an undertow you can’t ignore, it becomes a small island of classical restraint amid the show’s churning anxiety. Contemporary pieces like Noah Carter’s “winwin” and MØ’s “Keep Møving” inject motion; they stand in for both the physical and moral quickening that espionage demands.

Peachlyfe’s experimental electronics, “Fly Boi,” “Dirt Boi,” “Hot Boi”, supply much of the soundtrack’s muscle. They arrive in sequences meant to feel raw: chases, betrayals, moments when a polished façade splinters and pure urgency takes over. The beats are jagged, slightly off-kilter, perfectly suited to the series’ look and tone.

---

Underground artists add an edge to The Asset

The show doesn’t depend only on established acts. It reaches into the margins. Figi’s “Tør Dem Af” feels like bold choices: raw, slightly abrasive, and therefore oddly believable. When Helena’s “Range Rover” or Sooski’s “One Last Time” appears, it feels discovered, intimate rather than manufactured.

That mix matters. Big names lend weight; lo-fi finds lend credibility. Some of the most piercing moments come from voices you haven’t heard before, and the series gives those voices room instead of defaulting to a safe, familiar playlist.

---

Why music matters so much in The Asset

Many thrillers use noise to drown out silence. The Asset treats silence as territory music can enter, speak into, and then leave. The pauses between lines aren’t empty; they’re charged with choices that reveal more than exposition ever could. Michelle Gurevich’s “Party Girl” plays like audible irony, characters projecting composure while the score traces the cracks. Sertac Nidai’s “Arabian Dreams” brings a surreal, dislocating tone that fits scenes of detachment and vertigo.

Other tracks, Kaptain’s “We’ll Never Get Old” or King Cooley’s “Friend Zone”, add warmth where the show might otherwise feel clinical, reminders that beneath the spycraft are ordinary wants and stubborn attachments. Together, the music creates a steady rhythmic heartbeat across episodes, a continuity that keeps the emotional throughline alive.

---

The Asset is a reminder that music can be integral to storytelling when treated with intent. Its balance of eras, genres, and moods, from the melancholy of “Down by the Water” to the haunting simplicity of Arietta to the kinetic push of “Keep Møving”, enriches the show rather than overwhelms it.

The Asset's blend of classical, indie, and electronic pieces doesn’t just accompany the narrative; it amplifies the show’s psychological rhythm and lingers long after the screen goes dark.

Also Read: The Asset cast and character guide: Who plays whom in the latest Netflix Danish crime thriller