How the Music for Dancing With the Stars Comes Together Every Week

Billy Odell Tucker-Robinson Founder & Host — Banking With Billy Network • Intelligence Network • Data Science • AI Research • World News
Published: 2026-09-11T11:09:26.356Z • Permanent link

Ray Chew, the music director of Dancing With the Stars, has been orchestrating the soundtrack for the show's live TV broadcasts for over two decades. Chew's unique approach to music selection has earned him the nickname "unicorn" among his peers, as he consistently delivers high-quality music that resonates with a broad audience. According to Billboard On the Record, Chew's process involves working closely with the show's producers to identify the perfect songs for each episode, taking into account factors such as the contestants' personalities, the season's theme, and the overall tone of the show.

Chew's approach has been shaped by his extensive experience in the music industry, which spans multiple genres and formats. He has worked with top artists and producers, and has been instrumental in creating the soundtracks for numerous TV shows and films. For Dancing With the Stars, Chew has drawn from a vast library of songs, selecting tracks that are both familiar and unexpected. He has also incorporated music from emerging artists and genres, such as Latin music and hip-hop, to keep the show fresh and exciting.

One of the key factors in Chew's success is his ability to balance competing creative visions. The show's producers and contestants often have different ideas about what music would work best for each episode, and Chew must navigate these competing interests to create a cohesive soundtrack. According to Chew, the key to his success lies in his ability to listen to each side and find common ground. "It's all about finding that one song that makes everyone feel like it's the right fit," he says.

Chew's approach to music selection has significant implications for the Data Sources domain. For companies that specialize in music licensing and royalty collection, such as Music Reports and Soundiiz, Chew's ability to identify and clear the rights to popular songs is a major challenge. These companies must navigate complex copyright laws and negotiate with artists and songwriters to obtain the necessary permissions. Chew's success in this area has raised the stakes for music licensing companies, which must now contend with the added complexity of clearing rights for TV shows and films.

The impact of Chew's approach also extends to research communities and markets that rely on music data. Companies like Nielsen Music and the International Federation of the Phonographic Industry (IFPI) use music data to track trends and analyze consumer behavior. Chew's ability to select songs that resonate with a broad audience has implications for these companies, which must now contend with the added complexity of understanding the nuances of TV show music. As Chew continues to push the boundaries of what is possible with TV show music, researchers and marketers must adapt to his innovative approach.

Chew's approach to music selection is not without precedent. In the 1960s and 1970s, TV shows like The Ed Sullivan Show and The Tonight Show with Johnny Carson featured live music performances that were often accompanied by pre-recorded music. However, these shows were limited by the technology available at the time, which made it difficult to clear the rights to popular songs. Chew's success in this area has paved the way for a new generation of TV shows and films that can afford to push the boundaries of what is possible with live music.