Pemberton described the score as a "blend of melodic and emotional orchestral music coupled with a nice level of messy quirky oddness".

[4] Having previously worked with director Harry Bradbeer on television shows, Pemberton discussed with him, to create a "score full of themes, mystery and surprise that both encapsulated her character but also taking audiences on her journey".

[1] He thought Enola Holmes was very different from a typical Sherlock Holmes character and liked what he did, but felt that he could bring a bit of his own personality, which was a major concern, as multiple composers had worked on several media adaptations based on the character — most notably Hans Zimmer and Lorne Balfe's score for Guy Ritchie's film adaptation series, David Arnold and Michael Price's score for the subsequent television series and Bruce Broughton's score for Young Sherlock Holmes (1985).

Lots of directors sort of say they want themes but they actually don’t - as soon as they get big strong melodies they start to get a bit scared.

[6] For Enola's theme, he used an oboe as the foremost instrument as Pemberton "wanted to do something that had an energetic drive to it but that felt a bit more wonky and eccentric.

The depth and intricacy of the orchestrations means that the score is never dull; there’s always a new sound combination, or a new texture, just around the corner.

Fans of the quintessentially ‘English’ sound in film music will find it in abundance here, and those who were also drawn to Hans Zimmer and David Arnold’s respective musical interpretations of the Holmes legacy will also find that a lot of this score occasionally treads similar paths.

"[7] James Southall of Movie Wave wrote "Enola Holmes is a delightful score – it’s conventional by recent Pemberton standards but still features a number of quirks and it feels so continually fresh and energetic" and concluded it as "one of the year’s strongest scores and an album which will reward repeated listens".

[8] Filmtracks.com wrote "Enola Holmes is a mixture of incredibly inventive, engaging, and enthusiastic attitude and insanely disjointed instrumental quirkiness.

"[11] Marvelous Geeks Media writer Jenna Anne stated "Enola Holmes’ original score, even without the context of the film is simply magical, adventurous, and so surprisingly comforting even amidst the more upbeat tracks.