"Bridget Jones's Baby " Soundtrack Lyrics

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"Bridget Jones’s Baby" Soundtrack Description

Questions and Answers

Is there an official soundtrack album?

Yes. Bridget Jones’s Baby: Original Motion Picture Soundtrack was released September 16, 2016 by Polydor (19 tracks). (as listed on Apple Music and Wikipedia)

Who composed the original score?

Craig Armstrong composed the film’s score; a separate album, Bridget Jones’s Baby (Original Motion Picture Score), arrived October 7, 2016. (according to Apple Music)

What are the big original singles?

Ellie Goulding’s “Still Falling for You” (lead single, Aug 19, 2016) and Years & Years’ “Meteorite” (second single, Sept 13, 2016). (Entertainment Weekly and Years & Years discography pages confirm)

Who handled music supervision?

Nick Angel is credited as music supervisor. (trade credits/IMDb & Metacritic credits pages)

Does the album include score cues?

Yes—two Armstrong cues (“Race to Mark’s Flat” and “Wedding”) close the compilation; the rest of the score is on the separate soundtrack. (per AllMusic’s review and album listings)

Where can I stream it?

Streaming on Apple Music and Spotify; the score album is also widely available. (platform listings)

Notes & Trivia

• The compilation blends classic soul (Isley Brothers, Temptations, Marvin Gaye, Dionne Warwick) with 2010s pop (Ed Sheeran, Jess Glynne, Lily Allen) and two brand-new originals. (per album track list)
• The soundtrack debuted at No. 1 on the UK Soundtrack Albums chart and earned BPI Silver status the same year. (according to Wikipedia’s chart & certs section)
• “Still Falling for You” went Platinum in the UK and Brazil. (BPI certification notes)
• Armstrong’s closing cues (“Race to Mark’s Flat,” “Wedding”) function like a mini-suite wrapping the rom-com arc. (as noted in AllMusic’s review)
• Universal’s press materials teased contributions from Knox Brown x Gallant, Ed Sheeran, Jess Glynne and Lily Allen ahead of release. (Universal Music press note)

Overview

Why does a 2016 rom-com sound like a DJ set that flips between Motown and modern pop? Because Bridget Jones’s Baby lives on two frequencies: memory and momentum. The compilation is cheekily sequenced—Ellie Goulding and Years & Years deliver fresh, fizzy singles while heritage cuts (“Walk On By,” “That Lady,” “Just My Imagination”) keep the series’ comfort-food warmth. (as stated in the album overview and AllMusic’s write-up)

Craig Armstrong’s score threads the needle. He doesn’t overwhelm the needle-drops; instead he nudges scenes into tenderness or comic panic with airy strings, piano spotlights, and propulsive little set-pieces. The result feels like a night out that ends at a wedding: messy, sentimental, and a little bit perfect. (according to Apple Music’s score listing)

Genres & Themes

• Contemporary pop & dance-pop ↔ Bridget-in-the-now: flirty confidence, city-light sparkle (“Still Falling for You,” “Meteorite”).
• Classic soul & R&B ↔ nostalgia and found-family warmth (Isley Brothers, Temptations, Marvin Gaye, Dionne Warwick).
• Rom-com orchestral score ↔ piano-string uplift, comic caper energy, and wedding-aisle catharsis (Armstrong’s cues).

Key Tracks & Scenes

“Still Falling for You” — Ellie Goulding
Where it plays: Very end of the film and through the end credits.
Why it matters: The franchise’s 2016 anthem; a clean emotional release valve for the final montage. (as tracked by WhatSong and the single’s release notes)

“Meteorite” — Years & Years
Where it plays: Featured in the film and marketing; a glittery dance-pop burst used for celebration beats.
Why it matters: Purpose-built for the movie and released as the second single. (Years & Years single page)

“Reignite” — Knox Brown x Gallant
Where it plays: After the christening kiss, as Bridget and Mark drift toward the hotel—soft-focus glow.
Why it matters: It’s the slow-walk signal that their spark is back. (scene placement documented by WhatSong)

“Hold My Hand” — Jess Glynne
Where it plays: Prominently in marketing and party/club transitions.
Why it matters: Big-hearted sing-along energy that fits Bridget’s chaos-meets-joy tone. (album listing & trailer usage)

“Race to Mark’s Flat” / “Wedding” — Craig Armstrong
Where it plays: Late-film sprint into the reveal and the closing ceremony cue.
Why it matters: Armstrong’s concise score posts the emotional bookends around the pop set. (score album + compilation closer)

Track–Moment Index (selected)

Song / Cue	Approx. Placement	Diegesis	Scene description
Still Falling for You — Ellie Goulding	End / credits	Non-diegetic	Final montage into credits; definitive 2016 Bridget theme.
Reignite — Knox Brown x Gallant	Late	Needle-drop	Post-christening, Bridget & Mark’s slow walk toward the hotel.
Meteorite — Years & Years	Mid-late	Needle-drop	Celebratory sequence; bright, disco-tinted lift.
Race to Mark’s Flat — Craig Armstrong	Late	Score	Dash through London leading into the paternity/wedding endgame.
Wedding — Craig Armstrong	Finale	Score	Closing ceremony cue that wraps the love-triangle arc.

Music–Story Links (characters & plot beats)

• When Bridget’s life lurches from spreadsheets to sonograms, classic soul steadies the floor—familiar grooves for unfamiliar news.
• Modern pop (“Still Falling for You,” “Meteorite”) marks pivot points: new feelings, new risks, a new family shape.
• Armstrong’s cues do the stitching—short, confident bursts that carry comedy into sincerity without a hard cut.

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

Composer Craig Armstrong returned to rom-com territory with a compact, piano-and-strings score released as its own album a few weeks after the film’s opening. (Apple Music lists the 20-cue score set.)

Music supervision by Nick Angel balanced legacy bangers with 2010s chart-friendly material. Universal’s pre-release notes spotlighted the new originals—Goulding’s “Still Falling for You” and Years & Years’ “Meteorite”—and flagged contributions from Knox Brown x Gallant, Ed Sheeran (campfire version of “Thinking Out Loud”), Jess Glynne, and Lily Allen. (according to a Universal Music press release; trade credits confirm Angel’s role)

Reception & Quotes

“A mix of classic R&B and contemporary dance-pop… winds down with two pieces of original score by Craig Armstrong.” — AllMusic review

“An excellent soundtrack chock full of hits.” — Bustle

The compilation topped the UK Soundtrack Albums chart and later received BPI Silver certification, while “Still Falling for You” logged widespread international success, including UK Platinum. (according to Wikipedia’s chart & certification entries and BPI)

Technical Info

• Title: Bridget Jones’s Baby: Original Motion Picture Soundtrack
• Year: 2016
• Type: movie
• Director: Sharon Maguire
• Composer: Craig Armstrong
• Music Supervisor: Nick Angel
• Label (songs): Polydor Records (Universal)
• Label (score): Universal/Globe – 1812/UMO (digital)
• Singles: “Still Falling for You” (Ellie Goulding); “Meteorite” (Years & Years)
• Selected notable placements: “Reignite” (Knox Brown x Gallant); “Hold My Hand” (Jess Glynne); legacy soul classics by The Isley Brothers, The Temptations, Dionne Warwick, Marvin Gaye.
• Availability: Streaming on Apple Music & Spotify; separate score album available.

Canonical Entities & Relations

Subject	Relation	Object
Sharon Maguire	directed	Bridget Jones’s Baby (2016 film)
Craig Armstrong	composed score for	Bridget Jones’s Baby
Nick Angel	music supervised	Bridget Jones’s Baby
Polydor Records	released	Bridget Jones’s Baby: Original Motion Picture Soundtrack (2016)
Ellie Goulding	performed	“Still Falling for You”
Years & Years	performed	“Meteorite”
Knox Brown & Gallant	performed	“Reignite”
Jess Glynne	performed	“Hold My Hand”
Universal Pictures	distributed	Bridget Jones’s Baby (film)

Sources: Apple Music; Spotify; Wikipedia (film & soundtrack pages); AllMusic (review); Universal Music (press); IMDb/Metacritic credits; WhatSong placements.

One of singers – Ed Sheeran – is also in the cast, in cameo. No one else of the singers to this soundtrack did like him. But amongst the people you know, you meet every person of the main cast of previous parts of Bridget Jones franchise – Colin Firth and Hugh Grant. This is a 3rd film about Bridget Jones life. Two previous were very successful – they in 2001 and 2004 received over 250 million dollars each, with the budget 25 and 40 millions accordingly. This one came out with 11 years break and has 35 millions of the budget vs. pretty unpredictable box office revenues, as this time a story is loosely holds on a personal charm of Renée Zellweger depicting Bridget Jones, fancy English accents of almost every major person in this film and not so very interesting mystery of who the father of her child is. What we see on the screen is awkwardness of the protagonist with almost all flat jokes and a thin storyline, which is absolutely fully revealed in the trailer. What we do know – despite who the father of the child is – it would be either Colin Firth’s character or Patrick Dempsey’s character. You can exhale and relax. As for the soundtrack – it is the same shallow as the plot of the motion picture. Lily Allen’s song with vituperative name is absolutely correlative with Miss Zellweger’s character’s essence – shiny but waspish, the same as the lyrics of this piece. House of Pain are represented with their only loud hit Jump Around, while Ellie Goulding is trying to impress everyone with her Still Falling for You, which is much more faded in lyrics and generally than her first hit song. Annie Lennox has demonstrated her husky voice in The Hurting Time, and since that moment, we pitifully no longer expect to hear anything that great from her as Love Song For A Vampire – her lovely voice is gone.

October, 25th 2025

Bridget Jones's Baby on Rottentomatoes.com, Wikipedia, IMDb

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