"Honey 3: Dare to Dance" Soundtrack Lyrics

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"Honey 3: Dare to Dance (Original Motion Picture Soundtrack)" Soundtrack Description

Overview

How do you stage Romeo & Juliet with gqom kicks and pop hooks? Honey 3: Dare to Dance relocates the franchise to Cape Town and lets the soundtrack do double duty: a global club mix for battles and rehearsals, and Mark Kilian’s modern score for breath and glue. Nearly every big number is diegetic—the characters hear the music in-world—so song choice is strategy, not wallpaper.

The official album (Back Lot Music) collects licensed tracks—Major Lazer, Jason Derulo, Dawin, Vicetone, The Very Best, Incredible Bongo Band—plus six cues from Kilian. Cassie (as Melea) contributes an original cut, aligning the lead’s voice with the film’s DIY ethos. Verified album data appears on Apple Music and Spotify, while composer/credits are consistent across IMDb and the film’s page.

Questions & Answers

Who composed the original score?

Mark Kilian composed the score; his pieces are included alongside songs on the official album.

Is there an official soundtrack release?

Yes. Honey 3: Dare to Dance (Original Motion Picture Soundtrack) was released digitally on September 2, 2016 by Back Lot Music.

Who supervised the licensed music?

Tricia Holloway is credited as music supervisor.

Where was the film set and shot?

Set and filmed in Cape Town, South Africa, which informs several song choices and rhythms on screen.

What styles dominate the soundtrack?

Electro-pop, EDM, dance-rap, Afropop/gqom inflections, and modern score cues for transitions.

Does the lead perform a track?

Yes—Cassie’s “Joint (No Sleep)” appears on the album and in the film.

Notes & Trivia

• The album blends global chart acts (Major Lazer, Jason Derulo) with scene-forward producers (Vicetone) and crate-digger staples (“Apache” — Incredible Bongo Band via Grandmaster Flash remix).
• Back Lot Music issued the soundtrack four days before the U.S. home-video/Netflix date to sync with promo clips.
• Composer Mark Kilian, a South African native, previously scored Tsotsi—useful context for the local color in his cues.
• Cassie leads the film; Kenny Wormald returns to the franchise as Erik, bridging audiences from Honey 2.
• Many numbers are staged as rehearsals or contest rounds, so diegetic playback dictates editing rhythms.

Genres & Themes

Electro-pop & EDM — precision footwork, unison hits, and aerials; emphasizes team sync and “arena” scale.

Afropop / gqom textures — location signal; percussive drive for street rehearsals and club inserts.

Hip-hop & dance-rap — swagger for call-outs and crew rivalries; frames trash-talk and stare-downs.

Contemporary score — Kilian’s pads, pulses, and light percussion bridge dialogue, setbacks, and regrouping.

Tracks & Scenes

"End of Time" — Hopp & Nelson Beato
Where it plays: Early rehearsal/tryout passage; diegetic on studio speakers as Melea tests combinations.
Why it matters: Establishes the film’s clean, radio-friendly palette and Melea’s “coach” mode.

"Joint (No Sleep)" — Cassie
Where it plays: Club-floor showcase cutaway; diegetic.
Why it matters: Aligns the protagonist with the sound world—lead character and artist meet on the same track.

"Apache (Grandmaster Flash Remix)" — Incredible Bongo Band
Where it plays: Freestyle circle during an open-floor session; diegetic.
Why it matters: A b-boy/b-girl foundational break; roots the sequel in dance lineage despite its glossy surface.

"Dessert" — Dawin
Where it plays: Montage of crew recruitment and micro-battles; diegetic in practice hall.
Why it matters: Bubblegum-trap snap that sells quick-cut humor and swagger.

"Tonight" — Sam B & Evrywhr
Where it plays: Rooftop cooldown and bond-building; source-adjacent.
Why it matters: Lets the movie breathe between confrontations; frames Melea’s community-first mission.

"Catch Me" — Vicetone
Where it plays: Mid-film contest round; diegetic on arena PA.
Why it matters: Big-room EDM for synchronized formations; shows the crew can scale to “show” size.

"Yoshua Alikuti" — The Very Best
Where it plays: Street rehearsal cutaway; diegetic portable speaker.
Why it matters: Injects African pop texture; anchors place and community.

"Lean On" — Major Lazer & DJ Snake feat. MØ
Where it plays: Club intercut leading into a face-off; diegetic.
Why it matters: Ubiquitous hook leveraged for crowd hype; recognizability = instant stakes.

"Want to Want Me" — Jason Derulo
Where it plays: Quick glam insert before a stage run; diegetic.
Why it matters: Polished pop sheen contrasts with grittier rehearsal spaces.

"Lahla" — Busiswa, DJ Buckz & Uhuru
Where it plays: Closing celebration into credits; diegetic → non-diegetic handoff.
Why it matters: Local club banger that crowns the film’s Cape Town identity.

Score cues — Mark Kilian
Where they play: Between setbacks and regroupings; non-diegetic.
Why it matters: Provides emotional connective tissue without dulling the kinetic edge of the set-pieces.

Trailer music: The official trailer leans on in-film dance cuts (e.g., Cassie’s track, EDM rounds) and percussive stings consistent with the album.

Music–Story Links

Because battles, rehearsals, and performances are diegetic, songs function as plot levers. “Apache” signals respect for foundations; “Catch Me” and other EDM cuts reward unison precision during contest rounds; Afropop moments place Melea’s project inside Cape Town’s soundscape, not just in front of it. When a celebratory local hit (“Lahla”) rolls under the finale, the film resolves both narrative and place.

How It Was Made

Bille Woodruff directs again; Catherine Cyran wrote the screenplay. Music supervision by Tricia Holloway coordinated chart names with bespoke cues; Back Lot Music packaged the album. Composer Mark Kilian (South African–born) scored to picture with pulsing textures that stitch between diegetic numbers. The film shot on location in Cape Town, which the soundtrack mirrors through select Afropop inclusions.

Reception & Quotes

Coverage was modest but consistent: the film is engineered for feel-good momentum; music keeps the pace and sells the new setting.

“Polished tracks, energetic sets—the soundtrack is the movie’s metronome.” Review round-up

“Dance-first filmmaking; song choices punch up place as much as plot.” Parent/guide coverage

Additional Info

• The soundtrack was released on September 2, 2016 (digital), ahead of the September 6 U.S. home/Netflix date.
• Album credits list 20+ tracks, mixing licensed songs and six Mark Kilian score cues.
• “Joint (No Sleep)” ties the lead actor to the diegetic soundscape—rare for mid-series sequels.
• Universal’s official clips showcase battle excerpts matched to the album versions.
• Several widely recognized hits in the film are represented by their album edits on streaming.

Technical Info

• Title: Honey 3: Dare to Dance (Original Motion Picture Soundtrack)
• Year: 2016
• Type: Various-artists soundtrack + original score selections
• Composer: Mark Kilian
• Music Supervision: Tricia Holloway
• Label / Release: Back Lot Music — September 2, 2016 (digital)
• Notable placements: “End of Time”; “Joint (No Sleep)”; “Apache (Grandmaster Flash Remix)”; “Dessert”; “Catch Me”; “Lahla”
• Production / Setting: Universal 1440 Entertainment; filmed in Cape Town, South Africa
• U.S. release context: Netflix + Blu-ray/DVD on September 6, 2016

Canonical Entities & Relations

Subject	Relation	Object
Back Lot Music	released	Honey 3: Dare to Dance (Original Motion Picture Soundtrack)
Mark Kilian	composed	Original score for Honey 3
Tricia Holloway	music supervised	Honey 3 licensed tracks
Cassie (Cassie Ventura)	performed	“Joint (No Sleep)”
Hopp & Nelson Beato	performed	“End of Time”
Incredible Bongo Band	performed	“Apache (Grandmaster Flash Remix)”
Dawin	performed	“Dessert”
Vicetone	performed	“Catch Me”
Major Lazer & DJ Snake	performed	“Lean On”
Busiswa; DJ Buckz; Uhuru	performed	“Lahla”
Universal 1440 Entertainment	produced/distributed	Honey 3 (home entertainment)

Sources: Apple Music; Spotify; IMDb; Wikipedia; Film Music Reporter; MoviesOST; Universal Pictures All-Access.

It was released on DVD, Blu-ray but never in the theaters. Vast fragments of this piece are already on the Internet (YouTube it to find various cut-offs). As for the plot – nothing extraordinary – a girl dances – faces some difficulties – overcomes them – gets love – wins in some contest. Therefore, this film is only for extreme lovers of dancing. Even the music is only for dancing scenes in the track list. But they are plenty. That is why, there are over two dozen songs in the soundtrack, and most part of them is dance. There are, indeed, great variety of genres, like rap (All My Love), funk (Apache), blues (Closer by JMR), pop, hip-hop and some of the list are instrumental. Blues are for underlining snotty moments, which still have to be so the viewer believed in this film. As no one likes movies, where everything is pink and glossy. Well, there are such movies, but their audience primarily consists of girls dressed like princesses, of 3-7 years old. Growing older, you stop overestimating such creatures, like this motion picture. The overall length of every piece of music for this, basically, musical film, is of 2-3 minutes, but there are that last 1 and up to 2 minutes. They altogether contribute to the variety of genres of the tunes, making it at least not boring. The most hilarious clip here has song Dessert sang by Dawin. While the most major in terms of quality of a picture and of a storyline in lyrics has ‘Want To Want Me’. Would you agree that not much music has such provocative lines, where it says that a girl met a boy in her apartment wearing nothing but smile? Lyrics of ‘Want To Want Me’ have this and it is wanted immediately to watch this clip, because of its peculiarity – the lines usually tell what is going on the screen.

November, 10th 2025

Watch movie Official Trailer, read more on Wikipedia and IMDb

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