"Bullet Train" Soundtrack Lyrics

"Bullet Train" Soundtrack Description

Questions and Answers

Is there an official soundtrack album?

Yes—Bullet Train (Original Motion Picture Soundtrack) was issued by Arista Records in early August 2022 (14 tracks), with a separate Original Motion Picture Score by Dominic Lewis on Milan Records two days later. (as noted by the Wikipedia soundtrack entry)

Who composed the score?

Dominic Lewis composed the score; he also produced/reshaped several source tracks heard in the film. (according to Variety)

What’s the Japanese “Stayin’ Alive” everyone talks about?

It’s a new cover sung in Japanese by Avu-chan (QUEEN BEE) that opens the movie and appears on the OST. (as confirmed by Apple Music and Variety)

Which song is tied to Bad Bunny’s character, “The Wolf”?

“La Despedida” by Alejandro Sanz underscores The Wolf’s backstory and motif.

What’s the West Ham–linked song Lemon keeps referencing?

“I’m Forever Blowing Bubbles” (Engelbert Humperdinck’s new recording here)—it tracks the Tangerine/Lemon partnership and appears diegetically in flashback style.

Is there a Japanese “Holding Out for a Hero” in the movie?

Yes—Miki Asakura’s dance version punctuates a late-film build-up (“Mr. Death” sequence) and is included on the OST. (as listed on the OST and fan-verified scene breakdowns)

Notes & Trivia

• The OST (songs) was released by Arista Records; the score album followed via Milan Records—both in the film’s opening week of August 2022. (as stated in the Wikipedia soundtrack entry)
• Avu-chan’s Japanese “Stayin’ Alive” was created specifically for the film’s opening—David Leitch wanted the setting’s flavor baked into an instantly recognizable hit. (according to Variety)
• Engelbert Humperdinck re-recorded “I’m Forever Blowing Bubbles” at Capitol Studios with Dominic Lewis producing—yes, the West Ham nod for Tangerine is intentional.
• Character motifs abound: “La Despedida” = The Wolf; “My Time To Shine” = The Prince. (as noted by the Wikipedia soundtrack background)
• A Japanese “Holding Out for a Hero” (Miki Asakura) spikes a late set-piece; the OST also leans into classic J-pop picks like “Sukiyaki.” (according to Apple Music’s track listing)

Overview

Why does a disco classic in Japanese feel like a mission statement? Because Bullet Train treats songs as part of the punchline and the punch. The film opens with Avu-chan’s “Stayin’ Alive,” then ricochets between Japanese covers, 70s rock, enka-tinged score gags, and glossy pop—each cue stitched to a character or a gag. The result: a jukebox that actually steers the car. (according to Variety)

Dominic Lewis’ score keeps that collage coherent. He builds a concept-album energy (his words in interviews) and also retools source music—Humperdinck’s “Bubbles,” the Momomon theme—so songs and score feel like one machine. It’s maximalist, but purposeful: motifs tag assassins, and needle-drops time comedic violence to a toe-tap. (as Screen Rant’s interview and the Milan Records notes underline)

Genres & Themes

• Japanese covers of Western hits: Familiar hooks, local color; the Avu-chan and Miki Asakura cuts ground the chaos in place.
• 70s soul/rock swagger: Rare Earth’s “I Just Want to Celebrate” = end-credit relief; cool after carnage.
• Character-synced pop: The Wolf’s “La Despedida,” Prince’s “My Time to Shine”—songs as calling cards. (as noted on Apple Music and the soundtrack background)
• Score as mixtape: Lewis blends enka vibrato, grunge bite, synth pulse; cues like “Bubbles” and “Mr. Death” interlock with needle-drops.

Tracks & Scenes

“Stayin’ Alive” — Avu-chan (QUEEN BEE)
Where it plays: The title sequence at the top (≈ 0:03). Non-diegetic; sets the film’s Japan-inflected jukebox tone.
Why it matters: A famous groove translated & re-voiced—place and attitude in one hit. (as reported by Variety and scene logs)

“I’m Forever Blowing Bubbles” — Engelbert Humperdinck
Where it plays: Over Lemon & Tangerine flashback carnage; also threaded with their West Ham gag.
Why it matters: A tongue-in-cheek anthem becomes a buddy motif; sweet vocals over savage montage amplifies the joke. (New Yorker’s review notes the Humperdinck needle-drop)

“La Despedida” — Alejandro Sanz
Where it plays: The Wolf’s backstory wedding/vengeance montage and entrance.
Why it matters: A Spanish pop lament reframed as a cartel elegy; instantly brands the character’s tragedy.

“My Time to Shine” — UPSAHL
Where it plays: Early scenes that introduce the Prince’s manipulative streak and preening confidence.
Why it matters: Pop snarl for a princess-in-pink sociopath; the chorus telegraphs her MO.

“Holding Out for a Hero (Dance Version)” — Miki Asakura
Where it plays: A late build toward the Kyoto showdown (“Mr. Death” sequence) as the train barrels on.
Why it matters: Campus-disco bravado + accelerating action = wry, propulsive contrast.

“Sukiyaki (Ue o Muite Arukō)” — Kyu Sakamoto
Where it plays: Interstitial travel moment; a wistful palate cleanser before the next brawl.
Why it matters: Classic J-pop serenity resets the emotional EQ between fights.

“I Just Want to Celebrate” — Rare Earth
Where it plays: Epilogue/credits beat (≈ 1:58).
Why it matters: Funky exhale after impact; the film leaves you on a grin. (scene time echoed in fan breakdowns)

“Momomon Theme” — Dominic Lewis
Where it plays: TV-show-style sting for the mascot interludes.
Why it matters: A deliberately “taped” vintage sound that keeps the running joke musical.

Music–Story Links (characters & plot beats)

• When The Wolf storms in, “La Despedida” doesn’t just play—it enters with him, carrying grief as swagger.
• Lemon/Tangerine’s “Bubbles” montage makes their deadpan accounting feel like a terrace-chant—morbid, funny, bonding.
• The Prince’s “My Time to Shine” is a mask; the beat sells confidence while the plan reveals cowardice.
• As Kyoto nears, “Hero” turns escalation into a dancefloor dare—the joke is that no one here is a hero.
• “Stayin’ Alive” at the top frames Ladybug’s mantra—peaceful job, bad luck—as a disco shuffle through chaos.

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

Dominic Lewis approached the score “like a concept album”—raw, messy, attitude-first—and played a pile of instruments himself. He also co-produced/reshaped several source tracks (Humperdinck’s “Bubbles,” the children’s-TV-like “Momomon”), and recorded big orchestral sessions at Sony’s scoring stage. (according to Variety and a Screen Rant interview)

On the songs side, Arista’s OST leans hard into Japanese versions and legacy J-pop; Apple Music’s listing confirms Avu-chan’s “Stayin’ Alive,” Miki Asakura’s “Holding Out for a Hero,” Tamio Okuda’s “Kill Me Pretty,” and more. Character-theme thinking extends to UPSAHL (Prince) and Alejandro Sanz (Wolf), making the mixtape feel authored rather than incidental. (as noted by Apple Music and the soundtrack background)

Reception & Quotes

Critics often singled out the music’s mischievous fit with editing and action. Film‐music writeups praised Lewis’ commitment to style and texture over traditional theme-first development. (as reported by industry coverage and soundtrack sites)

“A musical hint comes at the very start… a new version of ‘Stayin’ Alive’ sung in Japanese.” Variety

“Because they can’t agree… a flashback shows them in mid-slaughter, accompanied by Engelbert Humperdinck singing ‘I’m Forever Blowing Bubbles.’” The New Yorker

Technical Info

• Title: Bullet Train — Original Motion Picture Soundtrack / Original Motion Picture Score
• Year / Type: 2022 / Movie
• Composer (score): Dominic Lewis
• Labels: Arista Records (songs OST); Milan Records (score)
• Release notes: OST released August 3, 2022 (regionally lists as Aug 5 on DSPs); Score released August 5, 2022
• Key placements (select): “Stayin’ Alive” (titles, ~0:03); “I’m Forever Blowing Bubbles” (Lemon/Tangerine flashback); “La Despedida” (Wolf backstory/entrance); “My Time to Shine” (Prince motif); “Holding Out for a Hero — Dance Version” (late build to Kyoto showdown); “Sukiyaki” (travel beat); “I Just Want to Celebrate” (epilogue/credits, ~1:58)
• Availability: Streaming on major platforms (OST: Arista; Score: Milan). Physical LP editions followed via catalog imprints.

Canonical Entities & Relations

Sources: Variety; Apple Music; Wikipedia (soundtrack & film entries); Milan Records; Screen Rant; The New Yorker; High On Films.

October, 26th 2025