"Encanto" Soundtrack Lyrics

"Encanto (Original Motion Picture Soundtrack)" Soundtrack Description

Overview

What happens when a family musical lets gossip, grief, and magical realism sing at the same time? Encanto answers with eight character-led songs by Lin-Manuel Miranda and a vibrant, Colombian-rooted score by Germaine Franco. The album moves from vallenato-bright introductions to whispered secrets and cathartic finales without losing its dance pulse.

As a listening experience, the soundtrack doubles as story engine: every major beat—identity crises, intergenerational pressure, reconciliation—arrives as melody. Billboard documented how the album and “We Don’t Talk About Bruno” topped U.S. charts, while Variety and The New York Times tracked its unusual crossover—a theatrical ensemble number becoming a global hit. What makes it distinct: authentic Colombian rhythms and instruments woven into Disney’s musical storytelling, and a score that privileges texture and local color over wall-to-wall orchestral sweep.

Questions & Answers

Is there an official soundtrack album?

Yes. Encanto (Original Motion Picture Soundtrack) was released by Walt Disney Records on November 19, 2021. It includes eight original songs and selections from Germaine Franco’s score.

Who wrote the songs and who composed the score?

Lin-Manuel Miranda wrote the songs; Germaine Franco composed and produced the score.

When does “We Don’t Talk About Bruno” play?

Around 00:46:00 into the film, as Pepa, Félix, and the family recount Bruno’s ominous prophecies; it’s performed in-world (diegetic musical number).

What song underscores Abuela’s backstory?

“Dos Oruguitas” (non-diegetic), approx. 01:18:00, over the flashback that explains the family’s “miracle.”

Which song is Luisa’s big number?

“Surface Pressure” (~00:34:00), a cumbia-flavored reggaeton confession about being the over-reliable older sibling.

What’s the party song heard at Antonio’s ceremony?

“Colombia, Mi Encanto” by Carlos Vives—first as source music at ~00:15:00 and again during end credits.

Did the album chart?

Yes. The album hit No. 1 on the Billboard 200, and “We Don’t Talk About Bruno” reached No. 1 on the Hot 100.

Notes & Trivia

• Germaine Franco became the first woman to score a Walt Disney Animation Studios feature and the first Latina nominated for Best Original Score.
• “Bruno” was nearly called “Oscar” in early development; the name changed to enable the hook “Bruno, no, no, no.”
• Stephanie Beatriz recorded “Waiting on a Miracle” while in labor—the day before giving birth.
• The 2022 Oscars featured the first live “Bruno” performance, with a new verse by Megan Thee Stallion.
• The soundtrack was released in over 40 language versions, reflecting the film’s global rollout.

Genres & Themes

Vallenato & cumbia give the family ensemble pieces a bright, communal lift—perfect for exposition (“The Family Madrigal”) and celebration (“Colombia, Mi Encanto”).

Reggaeton + cumbia in “Surface Pressure” turn Luisa’s anxiety into locomotion: relentless groove equals relentless expectations.

Guajira/Latin pop in “We Don’t Talk About Bruno” frames gossip as propulsion—each relative’s rhythm equals a different bias.

Bambuco in “Waiting on a Miracle” places Mirabel slightly “off” from the family’s meter—a subtle musical metaphor for feeling out of step.

Acoustic folk ballad (“Dos Oruguitas”) anchors grief and healing; suite-style finale (“All of You”) braids motifs into reconciliation.

Tracks & Scenes

“The Family Madrigal” — Stephanie Beatriz, Olga Merediz & Cast
Where it plays: ~00:04:00. Mirabel tours the courtyard with local kids, introducing each relative’s gift; diegetic musical number staged as lively exposition.
Why it matters: Sets character map and tone; plants motifs echoed later in the finale.

“Colombia, Mi Encanto” — Carlos Vives
Where it plays: ~00:15:00 (source music at Antonio’s door ceremony) and again over end credits (~01:30:00); first use is diegetic, later non-diegetic.
Why it matters: A love letter to Colombia that grounds the film’s parties and farewells in the same joyous groove.

“Waiting on a Miracle” — Stephanie Beatriz
Where it plays: ~00:22:00, in front of the candle as time poetically “freezes”; sung in-world (diegetic).
Why it matters: Mirabel’s “I want” moment—bambuco meter subtly marks her as rhythmically apart from the family.

“Surface Pressure” — Jessica Darrow
Where it plays: ~00:34:00, during Luisa’s fantasy-montage; diegetic performance crossing into stylized visuals.
Why it matters: Turns invisible labor into a dance banger; the groove never lets up, mirroring her burden.

“We Don’t Talk About Bruno” — Cast
Where it plays: ~00:46:00, as relatives (and townsfolk) pile on contradictory memories; diegetic ensemble.
Why it matters: A gossip engine that advances plot and character by counterpoint; each verse adds motive, misdirection, and momentum.

“What Else Can I Do?” — Diane Guerrero & Stephanie Beatriz
Where it plays: ~01:08:00; Isabela’s garden blooms into chaos; diegetic duet.
Why it matters: Rock en español swagger marks a personality shift—from perfection to experimentation—and repairs the sisters’ bond.

“Dos Oruguitas” — Sebastián Yatra
Where it plays: ~01:18:00 over Abuela’s flashback; non-diegetic ballad.
Why it matters: The film’s emotional hinge; metaphor of two caterpillars captures loss, migration, and renewal.

“All of You” — Cast
Where it plays: ~01:24:00; rebuilding montage and town’s embrace; diegetic ensemble finale.
Why it matters: Weaves song motifs into communal repair—musically proves that “more than your gift” applies to every Madrigal.

Music–Story Links

Mirabel’s bambuco (“Waiting on a Miracle”) literally sits a click off the family’s party rhythms. Luisa’s reggaeton drive equates reliability with grind; Isabela’s rock break frees her from decorum. “Bruno” functions as sung dramatic irony—Dolores’s whispered verse knows more than the room. And when “Dos Oruguitas” arrives, the score yields: a folk ballad pauses spectacle so the story can breathe.

How It Was Made

Germaine Franco built the score around Colombian idioms and instrumentation: accordion, guacharaca, tiple, marimba, arpa llanera, tambora, and layered female choirs. Remote and hybrid sessions (Los Angeles, Miami, Bogotá, NYC) captured local color while keeping Disney’s orchestral sheen. John Powell served as score advisor; Anthony Parnther conducted key sessions. Miranda’s songs pull from vallenato, cumbia, guajira/Latin pop, rock en español, and reggaeton—then the score threads them into narrative connective tissue.

ScreenDaily and Variety have detailed Franco’s process, including pandemic-era solutions (shipping instruments, virtual choirs) and the decision to save “big orchestra” for select peaks.

Reception & Quotes

The album became a rare modern soundtrack to dominate streaming and sales simultaneously. Billboard confirmed the LP’s No. 1 on the Billboard 200 and “Bruno” hitting No. 1 on the Hot 100; Variety and Vanity Fair chronicled the song’s viral arc and its Oscars night showcase.

“A Broadway-style ensemble track that revels in gossip.” The New York Times on “Bruno”

“‘Bruno’ becomes the first Disney song to top the Hot 100 in 29 years.” Variety

“The soundtrack surges to No. 1 on the Billboard 200.” Billboard

“Peeling back the layers of Miranda’s surprising TikTok hit.” Vox

Additional Info

• “Dos Oruguitas” received the film’s Best Original Song Oscar nomination; “Bruno” wasn’t submitted under the Academy’s early deadline strategy.
• A touring “Sing-Along Film Concert” brings the music to live venues with band and on-screen lyrics.
• Target and Walmart offered exclusive physical editions (CD with poster; picture-disc vinyl).
• All principal songs also exist in instrumental versions on digital releases.
• The album exists in dozens of dubbed language versions; multi-language “Bruno” videos highlight the global rollout.
• Score sessions took place at Eastwood Scoring Stage, Newman Scoring Stage, and other studios across the Americas.
• Tom MacDougall received a Guild of Music Supervisors credit tied to “Dos Oruguitas.”

Technical Info

• Title: Encanto (Original Motion Picture Soundtrack)
• Year: 2021
• Type: Film soundtrack (songs + score)
• Songs by: Lin-Manuel Miranda
• Score composed/produced by: Germaine Franco
• Executive/Label: Walt Disney Records
• Notable placements: “We Don’t Talk About Bruno”, “Surface Pressure”, “What Else Can I Do?”, “Dos Oruguitas”, “Colombia, Mi Encanto”
• Release context: Theatrical U.S. release Nov 24, 2021; soundtrack released Nov 19, 2021
• Album performance: U.S. Billboard 200 No. 1; Hot 100 No. 1 single (“We Don’t Talk About Bruno”)
• Awards highlights: Academy Award (Best Animated Feature, film); Original Song nomination (“Dos Oruguitas”); Original Score nomination (Franco)
• Music leadership: Supervising Music Editor: Earl Ghaffari; Score advisor: John Powell; Conductor: Anthony Parnther

Canonical Entities & Relations

Sources: Billboard; Variety; Vague Visages; The New York Times; Vox; Vanity Fair; ScreenDaily; Wikipedia; Disney Wiki; Encanto Wiki; MusicBrainz; The Hollywood Reporter; People.

November, 09th 2025