This Week in Immersive Audio: 17 March 2025

This Week In Immersive Audio is my weekly roundup of news from the spatial audio world and new Atmos releases from the previous week. If no engineer is listed on a release, I was unable to find the credit. Please get in touch if it was you or if you know who it was!

Singles

Still Bad by Lizzo

Lizzo’s "Still Bad" is more than just an anthem of self-confidence—it’s a sonic statement that immerses you in its energy. The Atmos mix takes her bold vocals and places them in a dynamic 3D space that feels alive. The low end is a driving force, with the bass subtly undulating around the listener while the soaring highs of Lizzo’s voice reach out from above and behind you, pulling you deeper into the track.

The production plays with texture in ways that only Atmos can reveal. The percussive elements snap and crackle with clarity, and the brass hits have a golden, full-bodied resonance that sounds as though it’s leaping off the stage. This is a track designed to make you feel powerful—and in Atmos, it’s impossible to ignore how the spatial soundscapes amplify that feeling.

Boys Don’t Cry by Tom Grennan

“Boys Don’t Cry” is an electrifying mix of '80s synth-pop and modern energy. The production blends punchy drums with sweeping synths, creating a vibrant backdrop for Grennan’s emotive vocals. His voice sits at the centre of the track, raw and full of feeling, while the surrounding harmonies add depth and texture.

The song’s infectious rhythm and groovy bassline drive the energy forward, supporting Grennan’s lyrical exploration of masculinity and emotional openness. There’s a vulnerability in his delivery, breaking down walls as he sings about letting go of stoic expectations and embracing authenticity. It’s both a celebration of self-expression and a call to break free from old norms.

In the Dolby Atmos rendition, the spatial arrangement of instruments becomes particularly noteworthy. The synth melodies traverse the soundstage, moving fluidly from front to back and side to side, immersing the listener in a dynamic soundscape. Grennan's emotive delivery is accentuated, with his voice occupying a central position, surrounded by ambient effects that add texture and movement. The percussive elements are distinct, each hit placed thoughtfully to create a cohesive and engaging rhythm section.

SMOKE THE PAIN AWAY by Calvin Harris

Calvin Harris's latest single, "Smoke the Pain Away," presents a distinctive blend of house, country, and folk elements, marking a significant evolution in his musical repertoire. The track opens with a prominent guitar lead, setting a folksy tone that seamlessly transitions into a house beat, creating an unexpected yet engaging fusion. A notable feature of the production is the inclusion of a harmonica during the drop—a divisive decision. This element adds a loud yeehaw feel to the track, contrasting with the otherwise polished electronic backdrop.

Another potentially surprising prominent instrument on the track is Calvin’s own vocals. Is this…the first Calvin-led track since 2014’s “Summer”?! Harris's vocals are laid-back yet emotive, delivering lyrics that delve into themes of using substances to cope with life's challenges. This lyrical content adds depth to the song, inviting listeners to reflect on its poignant message.

Where the production truly shines in Atmos is during the drop, where the harmonica and guitar trade places in the soundstage, weaving in and out of the electronic beats. This space and movement in the mix elevate the track, giving it a fluidity that stereo simply can’t replicate. While the track’s juxtaposition of folk and dance may still divide opinions, the immersive qualities of the Atmos mix help it feel more cohesive, letting each genre coexist in harmony.