O’Neil Thomas Talks “All For Us” and Euphoria Music Tribute

O’Neil Thomas is stepping into music with a project that carries more intent than a simple cover release. Known for his work across comedy, acting, and digital cultural commentary, he is now turning toward one of the most sonically distinctive television soundtracks of the past decade: Labrinth’s Euphoria score. The result is a reinterpretation of “All For Us” and “When I RIP,” two tracks that sit at the emotional core of the series.

The timing feels deliberate. Labrinth’s work on Euphoria has continued to circulate far beyond the show’s original broadcast windows, with “All For Us” (featuring Zendaya) peaking at No. 37 on the UK Singles Chart in 2019 and later re-entering streaming rotation during the show’s second-season resurgence in 2022. Against that backdrop, Thomas enters a space already defined by intense fan attachment and sonic identity.

Speaking about the decision to step into music now, Thomas frames the project less as a pivot and more as a long-delayed alignment. “Music has always been a part of me for as long as I could remember,” he said. “I’ve been a big critic of my sound because it may not be ‘conventional’. I was always scared of one person not liking it… Labrinth inspired me to finally go all in because his sound is literally one of one.”

That influence is not incidental. Labrinth’s fusion of gospel textures, electronic distortion, and cinematic scoring has become inseparable from Euphoria’s identity, particularly in episodes like Season 1’s finale, where “All For Us” underscored Zendaya’s widely discussed performance sequence. Thomas describes that moment as formative: “I remember watching it for the first time and I was glued at the edge of my seat with chills going down my spine.”

Reworking material so closely tied to that legacy required a careful balance between reverence and reinterpretation. Thomas recorded both tracks at Lounge Studios in Manhattan alongside producer Adam Clark, marking his first time in a professional recording environment.

Much of that process unfolded through direct experimentation rather than rigid structure. “I handle it with care and respect first and foremost,” Thomas explained. “I honor Labrinth’s sound while adding my own voice and vocal acrobatics to make it more me.” The intention was not to overwrite the originals but to shift perspective within them, especially in moments like his reimagined closing riff on “All For Us.”

For listeners already attached to the Euphoria soundtrack, the reinterpretations arrive with a built-in emotional weight. “When I RIP,” Thomas says, carries a different kind of energy in his version — one he describes as “freeing,” shaped by its “heavenly and electric” original structure.

Beyond the technical process, the covers also reflect a broader shift in how Thomas views his creative identity. Known for navigating comedy and commentary-driven formats, he sees music as a space where emotional range can exist without irony or framing. “There are times where I want to feel sadness, anger, rage, hope,” he said. “Music allows us to feel seen.”

Scroll down to read O’Neil Thomas’ full interview with InMusic.

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You’ve built your name across acting, comedy, and cultural commentary. What inspired you to step into music with these Euphoria covers at this particular moment?

Music has always been a part of me for as long as I could remember. The only difference now is that I’m finally turning down the noise and doubt when it comes to me and my love for music. I’ve been a big critic of my sound because it may not be “conventional”. I was always scared of 1 person not liking my sound because somewhere deep down… I partially agreed with them. Labrinth inspired me to finally go all in with my sound because it’s what makes us unique. And his sound is literally 1 of 1. What he’s done with Euphoria is generational and I admire him, his work, and his contribution to Euphoria deeply. So this project is me paying my respect to him and myself.

Why did “All For Us” and “When I RIP” feel like the right songs to reinterpret?

Those songs were my absolute favorite in the franchise. They feel right to reinterpret because, to me, these 2 songs feel like the Backbone of the overall theme and aesthetic of Euphoria. Playful, colorful, and whimsical, yet also very dark, grungy, and raw.

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Both tracks are deeply tied to Euphoria’s emotional world. What was your first connection to them as a listener?

When I RIP has a sound that so heavenly and electric. Everytime I play it whether at home, at the gym, or driving home, I always feel like I’m the only one in the room with euphoric strobe lights pulsing. It feels freeing.

I was introduced to All For Us during the Season 1 Finale and it was the only music number in the season that broke the 4th wall. Seeing Zendaya’s performance through storytelling added so much depth to that song. I remember watching that moment for the first time and I was glued at the edge of my seat with chills going down my spine. It was visually and sonically the most incredible collaboration I’ve seen on a TV Screen and that solidified my love for Labrinth and Zendaya as creative feats in the industry.

Reimagining songs that are already so closely associated with Labrinth and the series comes with a certain weight. How did you approach honoring the originals while making them distinctly your own?

I handle it with care and respect first and foremost. I honor Labrinth and his specific sound while adding my own voice and vocal acrobats to make it more me. Like my ending riff in my cover for All For Us. I think any creative would be able to appreciate an approach like that honoring their work while also having fun being yourself in the process.

What was your creative process like when deconstructing each song and deciding how you wanted to rebuild it?

It was a bit intimidating at first. For instance, this was the first time I ever recorded anything in an official music studio, Period. That process alone was new for me to navigate. I recorded both tracks at Lounge Studios in Manhattan, NY with my producer Adam Clark and he made me feel way more at ease while recording.

We got to collaborate a lot in the studio together playing with different harmonies, melodies, layering and vocal stacking. We literally spent hours in the studio making sure everything was right haha.

How much of your own personal experiences or emotional perspective did you channel into these performances?

A lot. Which is the beauty of creating art like this because I got to pull from my own experiences to get my emotion out. When you really get to sit down and listen to the lyrics in these tracks, you realize the very powerful story that it tells and it makes you feel incredibly vulnerable because they are extremely vulnerable tracks.

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What did you want listeners, especially Euphoria fans, to hear differently in your versions that they may not have noticed in the originals?

That men can hit a high note in G Major too! Haha no but in all seriousness, I want Euphoria fans to enjoy these as much as I did making it. I hope they can see and hear my admiration for Labrinth’s sound and how he inspired me to embrace my voice.

Labrinth’s work on Euphoria played a key role in shaping the series’ emotional weight. In what ways did his artistry influence your approach to these reinterpretations?

His work is the reason why I still listen to Euphoria’s soundtrack to this day. I, like many other Euphoria fans, fully understand the weight Labrinth brings to Euphoria. It’s rare for a series to go hand in hand with their musical score for storytelling not only for a moment, or scene, but an entire season & franchise. It almost feels unheard of and that’s why it made sense for Lab to be so heavily involved in the series.

When creating the video for these covers, I was inspired by his Live taping of his songs that he posted and i wanted to pay homage to him by recreating that with different visuals, different outfit, and of course, the iconic Season 1 signature eye makeup look that was embedded in the storyline of Euphoria.

As someone known for comedy and cultural commentary, did stepping into this darker and more emotionally layered material challenge you creatively?

It honestly excited me more. Any comedic actor or entertainer can agree that we never want to be seen in just one way or one light. As a creative, I thrive on all conveying the entire emotional spectrum. I want to be able to be dark, grungy, and mysterious while also being able to make you laugh and feel good. I think Jordan Peele is a perfect example of that. His work on Key & Peele is vastly different from his Directorial work on Get out, Us, and Nope.

Your work often balances entertainment with deeper commentary. Do these covers carry a message or perspective beyond being musical tributes?

They do. Aside from being musical tributes on the surface, these projects carry the message and weight of finally pulling the trigger on yourself creatively, and push those boundaries you and the world set on yourself. It’s our jobs as creatives to break out of the boxes society puts us in and it may sound scary at first but you’ll never know where you’ll go on the other side of it if you just lock in and do it!

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Did you discover anything new about yourself as an artist while working on these songs?

Yes! I discovered just how much attention to detail I put into my projects. I creative directed this and it was my first time working with this many departments before. As an Actor, I’m so used to reporting to set, heading straight to the green room and get ready to go to set. This project made me put my Boss hat on and I had to reach out to studios, producers, glam team, stylists, Cinematographers, Directors, AD’s and more! While it may sound hectic, it was genuinely such a fun and eye opening experience for me learning as I go. I learned that this is definitely something I’m excited to dive more deeply into when releasing my own individual work.

You’ve become one of digital culture’s most compelling voices through satire and performance. How does music allow you to express parts of yourself that comedy perhaps cannot?

Music allows me to tap into the more raw sides of my life and create from there. With comedy, you’re able to create things both good and bad and make something funny & light out of it. Don’t get me wrong, I love being able to do that, but there are times where I want to feel sadness, anger, rage, hope and all other facets of emotion that makes us all human. Because the beauty of creating music, it allows us to feel seen and puts words into what we may be internally going through with a corresponding melody and perfectly blended beat. Comedy makes you laugh, Music makes you human.

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With these covers marking a new chapter, do you see this as a one-time tribute to Euphoria or the beginning of a larger musical journey for O’Neil Thomas?

Oh this is definitely the beginning of a musical journey for me. I’ve always loved the idea of performing on stages to my own songs. After this project, I’m confident that if you give me a budget, I’m putting on the best show to remember! I already have a few songs I’m working on to hopefully blend into my Debut EP but one thing I will not do is rush my art.

I’m so excited to finally kick off this creative endeavor I’ve wanted to do for literal years and I’m so happy that this project is finally yours!