"Brides Maids" Soundtrack Lyrics

"Bridesmaids (Original Motion Picture Soundtrack)" Soundtrack Description

Questions and Answers

Is there an official soundtrack album for Bridesmaids?

Yes. Bridesmaids (Original Motion Picture Soundtrack)—a 13-track various-artists set—released May 10, 2011, via Relativity Music Group/GRP (as listed on Apple Music and FilmMusic.com).

Who composed the original score?

Michael Andrews. His work (including “Boogaloo Annie”) appears alongside the licensed songs. (Wikipedia credits confirm “Music by Michael Andrews”.)

Who was the music supervisor?

Jonathan Karp is credited as music supervisor (also music editor) on the film’s credits roll-up.

What’s the end-credits song everybody remembers?

“Hold On” by Wilson Phillips—performed on-screen by the group in the wedding finale. (as reported by The Hollywood Reporter)

Does the album match every song from the movie?

No. It’s a curated selection (e.g., Wilson Phillips, Blondie, Hole, Fiona Apple, Ryan Adams) plus one Andrews cue; additional in-film songs are documented in scene guides.

Can I stream it today?

Yes—major platforms carry the album worldwide; regional listings may vary slightly. (Apple Music/Spotify pages show availability.)

Notes & Trivia

• The album streeted May 10, 2011, three days before U.S. theatrical release. Label credit reads Relativity Music Group / GRP. (as listed on FilmMusic.com and retail metadata)
• Wilson Phillips’ cameo/“Hold On” finale gave the ’90s hit a download bump and a pop-culture second wind (according to Rolling Stone’s 2020 retrospective).
• Music supervision is credited to Jonathan Karp; the film’s credits also list him as music editor. (Metacritic credits page)
• Composer Michael Andrews anchors the score; the album includes his cue “Boogaloo Annie.”
• The compilation mixes rowdy needle-drops (AC/DC) with sharp character songs (Fiona Apple’s “Paper Bag”)—a very Apatow/Feig move (as the Apple Music editor’s note puts it).

Overview

Why does a raunch-sweet ensemble comedy sound like a perfectly chaotic mixtape? Because Bridesmaids treats songs as weapons and love letters. The soundtrack leans into girl-group catharsis (“Hold On”), punk sarcasm (Blondie’s “Rip Her to Shreds”), and alt-rock ache (Hole’s “Violet”), then lets Michael Andrews’ gentle cues stitch the dialogue back together. (as listed on Apple Music; as stated in Film Music Reporter’s release note)

Instead of wall-to-wall comedy stings, the film uses iconic placements as character beats: a karaoke-adjacent singalong here, a “power-walk to the jet bridge” there, a petty drive-by scored to West-Coast rap. The result? A soundtrack that moves like the plot: competitive, messy, then—somehow—harmonized. (according to ScreenRant’s song-by-song guide)

Genres & Themes

• Girl-group pop & power balladry → sisterhood as punchline and promise (“Hold On”).
• Punk/new wave & alt-rock → verbal sparring, rivalry snark (Blondie; Hole; Nouvelle Vague’s sly “Blister in the Sun”).
• Classic rock swagger → competitive bravado (AC/DC’s “Dirty Deeds Done Dirt Cheap”).
• Intimate score (Michael Andrews) → reset button between blowups; warmth without syrup.

Key Tracks & Scenes

“Hold On (Single Edit)” — Wilson Phillips
Where it plays: The wedding finale/credits as Wilson Phillips perform on stage; non-diegetic performance turning diegetic mid-scene as the band appears.
Why it matters: A joyous, on-the-nose reconciliation anthem that remakes the movie as a friendship vow. (as reported by The Hollywood Reporter)

“Rip Her to Shreds (Remastered)” — Blondie
Where it plays: Early needle-drop as Annie leaves Ted’s place and scales the fence; ~00:04. Non-diegetic. (WhatSong lists the moment)
Why it matters: Sets the film’s acid-sweet tone—snarky lyrics for a heroine in denial.

“Paper Bag” — Fiona Apple
Where it plays: Annie bakes a single cupcake for herself; later reprises over a lonely regroup. Non-diegetic. (WhatSong placement)
Why it matters: Vulnerability without pity; the song’s lilt softens the spiral.

“Dirty Deeds Done Dirt Cheap” — AC/DC
Where it plays: The petty-war tennis match between Annie and Helen; ~00:34. Non-diegetic. (WhatSong guide)
Why it matters: Petty feud, epic riff—perfect.

“Do-Wah-Doo” — Kate Nash
Where it plays: On the way to that infamous Brazilian-restaurant lunch; non-diegetic. (WhatSong)
Why it matters: A breezy prelude before chaos.

“(I’ve Just Begun) Having My Fun” — Britney Spears
Where it plays: The bridesmaids strut through the jet bridge en route to the Vegas plan; reprises after the diverted flight. Non-diegetic. (ScreenRant; WhatSong)
Why it matters: Pop confidence that curdles into farce—very on brand.

“My Love Is Your Love (Forever)” — Smokey Robinson & The Miracles
Where it plays: Annie’s tentative date with Officer Rhodes; non-diegetic. (WhatSong)
Why it matters: Old-soul warmth to counter the self-sabotage.

“Natural Born Killaz” — Dr. Dre & Ice Cube
Where it plays: Annie blasts it while slow-rolling past Rhodes to get his attention; ~01:43. Non-diegetic. (WhatSong)
Why it matters: Comedy via overcompensation: hard-edged track, soft-hearted plea.

Track–Moment Index (approximate)

Music–Story Links

When Annie and Helen escalate from side-eye to sabotage, the soundtrack turns into a scorecard: Blondie’s bite for the digs; AC/DC for the duel; Britney for the swagger-that-won’t-land. Then a ’60s-soul slow dance tries to repair what snark broke. By curtain call, Wilson Phillips step out of the stereo and onto the stage—music literally resolves the relationship arc. (as ScreenRant’s breakdown shows)

I like how Andrews’ cue “Boogaloo Annie” resets the mood between disasters—quick, melodic housekeeping. It lets the needle-drops take big swings without tipping the movie into pure sketch. (according to Apple Music’s album notes)

How It Was Made (supervision, score, behind-the-scenes)

Composer: Michael Andrews (Donnie Darko, Bad Teacher) delivers light-touch, melodic cues designed to live beside big catalog songs. Music Supervision: Jonathan Karp (also music editor) wrangled a pop-to-punk palette that matched Paul Feig’s tonal shifts. (Metacritic credits; Wikipedia composer credit)

Album & release: Relativity Music Group/GRP issued the 13-track album on May 10, 2011; the set includes Wilson Phillips, Blondie, Fiona Apple, Hole, Kate Nash, Ryan Adams, Smokey Robinson & the Miracles, and one Andrews cue. (as stated by Film Music Reporter and Apple Music) The Wilson Phillips cameo was secured during production and helped fuel the film’s feel-good legend (as reported by The Hollywood Reporter; according to Rolling Stone’s feature on the song’s long life).

Reception & Quotes

The film became a word-of-mouth juggernaut, and the soundtrack got credit for its precision needle-drops and that finale singalong. (as stated in the 2011 THR coverage) Critics often mention how the mix balances bite and buoyancy.

“A riot of perfectly placed needle-drops that sharpen the comedy instead of softening it.” Critics’ summary

“‘Hold On’ turns a farce into a moment of grace.” Feature coverage

Availability: the album streams widely and remains an easy front-to-back listen. (as listed on Apple Music and Spotify)

Technical Info

• Proper Title: Bridesmaids (Original Motion Picture Soundtrack)
• Year / Type: 2011 — movie
• Composer (score): Michael Andrews
• Music Supervision: Jonathan Karp
• Label: Relativity Music Group / GRP
• Album makeup: 13 tracks — licensed songs + one Andrews cue (“Boogaloo Annie”)
• Selected notable placements: “Hold On” (Wilson Phillips); “Rip Her to Shreds” (Blondie); “Paper Bag” (Fiona Apple); “Violet” (Hole); “(I’ve Just Begun) Having My Fun” (Britney Spears); “Dirty Deeds Done Dirt Cheap” (AC/DC); “My Love Is Your Love (Forever)” (Smokey Robinson & The Miracles)
• Release context: OST released May 10, 2011; film opened May 13, 2011 (U.S.)
• Availability: Streaming (Apple Music/Spotify); CD/digital retail

Canonical Entities & Relations

Sources: Apple Music; Spotify; Film Music Reporter; Metacritic credits; ScreenRant (song-by-song); WhatSong; The Hollywood Reporter; Rolling Stone; FilmMusic.com; Amazon/retail listings; Wikipedia film overview.

October, 25th 2025