Based in Toronto, Steph Copeland is a screen composer, producer and singer/songwriter best appreciated for her genre films scores and darker leaning electro-pop works (Vicious Fun, The RetreatThe Oak Room, I'll Take Your Dead, Bite, Antisocial 1 & 2). Her most recent work has been composing music for CityTV's 2020 dramatic series The Wedding Planners as well as various made-for-TV romantic dramas (The Art of Falling In Love, After The Storm, Snowbound For Christmas).

A classically trained vocalist with roots at The Royal Conservatory of Music, Copeland began her music career as an electro alt-pop artist in Windsor and Detroit. She toured parts of North America and released 6 albums with fellow artists on both sides of the border before releasing her solo debut effort Public Panic, which resulted in a signing with a long established NY based publisher. Her original songs have seen placements in series such as Tiny Pretty Things, L.A.’s Finest, UnREAL, animated series Mysticons and more. Commercial works include NBA Canada, The North Face, Magnotta Winery, Pan-Am Games, BOSE, National Ballet School of Canada.  

In addition to composing for the screen and songwriting, Steph occasionally takes on the role of music director. In 2018, she produced and conducted an all female ensemble orchestra in performances opening the 2018 SOCAN Awards featuring Brett Kissell as well as the 2018 TIFF Gala featuring Sarah Slean, Stacey Kay and The Tenors. She was recently featured in SOCAN’s For The Record spotlight that debuted at the 2019 Juno Awards and has enjoyed performing keys and back-up vocals on tour with recording artist Ria Mae.

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"The Retreat makes for a gruesome,gritty thriller that let's it's stars shine"

- The Globe and Mail

"A gory horror flick that can compete with the best of the Hollywood slashers"

- theBUZZ Media

"A solid, entertaining, Thrill ride well worth the watch"

- Fears magazine



"Synth-drenched pandemonium made with equal parts heart and wit"

- Luke Rodriguez, Modern Horrors

"The music by Copeland is fierce fun as she uses 80's synth rock as her own personal playground. Any lover of synth horror is going to adore this score"    - Kelly McNeely, iHorror


- The Happy Phantom



"One of The Oak Room's true strengths is the potent and aura inducing score"

- Rachel Reeves, Vehlinggo

"Copeland's tantalizing, mood-enhancing score beautifully compliments the films carefully constructed workaday settings ...creates an aural temperature that hits on all levels"

- Rue Morgue Magazine

"Somber, primal and foreboding music by (Copeland)"

- Andrew Mack, Screen Anarchy