"How to Date Billy Walsh" Soundtrack Lyrics

"How to Date Billy Walsh (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

Can a teen rom-com soundtrack be a pep talk and a confession booth at the same time? This one tries. The film races on pop-rap anthems, club gloss, and TikTok-era hooks, then eases into compact score cues that let the characters breathe. Composer Rob Lord keeps the original score nimble—short cues, bright motifs—between high-energy placements by Lizzo, Dua Lipa, Wet Leg, Maisie Peters, Ashnikko, and more.

The official album is a score release—16 cues by Lord—issued mid-April 2024 on Stylophonic Recordings (per label/retail listings). Most chart songs are film-only placements. The overall effect: a modern high-school mixtape that sells confidence at volume, then quietly admits what it cost.

Questions & Answers

Who composed the score and when did the album drop?

Rob Lord; the 16-track score album released April 16, 2024.

Is the OST a songs compilation?

No—the commercial release is score-only; most pop tracks are licensed for the film and credits.

Who supervised the needle-drops?

Music supervision credits include Jack Green and Jenn Egan.

Which artists headline the film’s licensed tracks?

Lizzo, Dua Lipa, Wet Leg, Maisie Peters, Ashnikko feat. Baby Tate, Sam Ryder, Prateek Kuhad, Joyous Wolf, LF System, Jason Mraz.

What’s the trailer song?

Marketing used Wet Leg’s “Wet Dream” and (in other cuts) Pale Waves’ “Lies.”

Where can I stream the score?

Wide digital availability (major platforms) under How To Date Billy Walsh (Original Motion Picture Soundtrack) by Rob Lord.

Notes & Trivia

• The pop placements exceed thirty cues; the retail album contains 16 score tracks.
• Maisie Peters pops up twice in key moments (“Blonde”; “John Hughes Movie”)—very on-brand for a teen rom-com finale.
• The prom band performance is diegetic; several big pop cuts are non-diegetic montage drivers.
• Rob Lord’s end-credits cue is titled “End Credits (Wow Wow Wow).”

Genres & Themes

Pop-rap & empowerment anthems → makeover beats and confidence spikes; the lyrics often literalize what the scene is pretending not to say.

Indie and alt → off-kilter crush energy; guitar-led tracks play the awkward glances without syrup.

EDM & dance-pop → quick geography (hallway → party → pool); four-on-the-floor edits compress time.

Compact score → motif tags for friendships and reveals; cues reset tone after each comic lunge.

Tracks & Scenes

Guide: diegetic = heard by characters. Timings follow widely shared scene logs; minor regional edits may shift cues slightly.

“Blonde” — Maisie Peters
Where it plays: Opening moments (~00:01) and later as a live prom performance. Diegetic at prom, non-diegetic at start.
Scene: The film cold-opens on Alice-in-all-caps teen energy: introductions, social hierarchies, and the crush triangle sketched in fast strokes before prom pays it off on stage.
Why it matters: The lyric’s self-reframing mirrors Amelia’s experimentations and Archie’s denial, then lands as joyous crowd energy when the band kicks in.

“Like a Girl” — Lizzo
Where it plays: ~00:03, non-diegetic over Archie’s rundown of Amelia.
Scene: Archie’s voiceover meets a flexing hook as we cut through school spaces—Amelia in her element, rules rewritten.
Why it matters: Instant character shorthand; the empowerment chorus foreshadows Amelia steering her own arc.

“Shehron Ke Raaz” — Prateek Kuhad
Where it plays: ~00:05, background under childhood montage; non-diegetic.
Scene: Home-video warmth and shared history; the melody softens the film’s speed for once.
Why it matters: Anchors the story in friendship before the triangle complicates the frame.

“STUPID” — Ashnikko feat. Baby Tate
Where it plays: ~00:07 at the title card; non-diegetic.
Scene: Smash-cut swagger signal: welcome to the tone—silly, spiky, self-aware.
Why it matters: Sets the comedy register and tells us not to take the schemes too seriously.

“Mississippi Queen” — Joyous Wolf
Where it plays: ~00:09 as Billy roars into school on a motorbike; non-diegetic that feels almost diegetic given the entrance.
Scene: Hero shot, instant myth, collective gasp; the edit rides the riff right up to introductions.
Why it matters: Classic-rock strut turns a transfer student into a campus legend in seconds.

“Hell Yes” — Beck
Where it plays: ~00:10, non-diegetic under Billy’s meet-everyone sprint.
Scene: Cut-cut-cut: new classes, instant best-friend vibes, swim-team nods.
Why it matters: Digital click and swagger align with Billy’s effortless assimilation.

“Wet Dream” — Wet Leg
Where it plays: ~00:19–00:21 over social-media sparks and the swim scene; non-diegetic.
Scene: Amelia likes Billy’s photo; the feed comes alive, then we’re poolside with cheers as he slices through the water.
Why it matters: Flirty deadpan lyrics + chlorinated heroics = crush ignited.

“Weirdos” — Black Honey
Where it plays: ~00:35; non-diegetic while Archie records a goofy dance video.
Scene: He sells a persona to impress, filter and all; it backfires adorably.
Why it matters: Soundtrack as subtext: trying on cool like a jacket that doesn’t fit.

“Levitating” — Dua Lipa & “About Damn Time” — Lizzo
Where they play: ~00:45; non-diegetic during Amelia’s wardrobe swing and hallway reveal.
Scene: Mirror prep → strut past lockers; the crowd reacts in chorus.
Why it matters: Dual-anthem combo scores agency and attention—two different energies, one objective.

“Hot In It” — Tiësto & Charli XCX
Where it plays: ~00:52; non-diegetic during outfit try-on montage.
Scene: Quick-cut selfies, ring lights, group chats pinging approvals.
Why it matters: A tempo toolkit for makeover logic.

“I Won’t Give Up” — Jason Mraz
Where it plays: ~01:04 as Archie helps Billy during a fire alarm; non-diegetic.
Scene: Chaos, then a decent act that complicates a rivalry.
Why it matters: The lyric reframes Archie’s motives—petty scheme meets actual heart.

“Swan Song” — Victoria Canal
Where it plays: ~01:06 in the cafeteria; non-diegetic, reflective.
Scene: Amelia and Billy trade softer conversation under the din.
Why it matters: A breather that hints at who’s listening and who’s not.

“More” — Sam Ryder
Where it plays: ~01:14; non-diegetic as Amelia rides a bike in the orange dress.
Scene: Sun-dappled, a little too perfect—Archie clocks what he’s losing.
Why it matters: The title says it; desire expands the frame.

“John Hughes Movie” — Maisie Peters
Where it plays: ~01:31 on the dancefloor; non-diegetic into crowd singalong vibe.
Scene: A meta wink—1980s teen-film myth baked into a 2020s prom.
Why it matters: Nostalgia and modernity finally agree on one thing: kiss already.

“Tongue Tied” — Grouplove
Where it plays: ~01:33 over end credits; non-diegetic.
Scene: Polaroids of the night after the night.
Why it matters: A crowd-pleaser that lets the film exit smiling.

Also heard: LF System “Afraid to Feel” (party lift), Dua Lipa “Levitating” reprise moments, Beck “Hell Yes” stingers, and more; trailer cuts circulate with Wet Leg “Wet Dream” and Pale Waves “Lies.”

Music–Story Links

• Makeover grammar: Empowerment pop marks each step of Amelia’s agency curve; Archie hears the same choruses as pressure.
• Entrance myth-making: Billy’s arrival rides classic-rock swagger, telling the audience how to feel about him before he speaks.
• Meta-finale: “John Hughes Movie” labels the trope and still earns the catharsis—self-awareness without puncturing the moment.
• Score as reset: Lord’s short cues tidy the emotional ledger after each stunt, so jokes don’t erase consequences.

How It Was Made

Score by Rob Lord, recorded and mixed for a lean, pop-adjacent palette—hooks in miniature so they can sit between radio-scale cues. Music supervision is credited to Jack Green and Jenn Egan, reflecting a split across clearances and on-screen music. The commercial album contains Lord’s 16 score cues; the pop placements live on artist releases and playlists.

According to the score album notes and composer updates, the soundtrack arrived on digital services on April 16, 2024, shortly after the film’s April 5 streaming debut.

Reception & Quotes

The film drew mixed-to-negative notices, while several reviews still singled out moments and performances. Representative snapshots:

“Another offensively boring streaming-service mess.” — The Guardian

“Overambitious… trying to be too many movies in one.” — Decider

“The soundtrack does heavy lifting, even when the script wobbles.” — festival/streaming roundups

Additional Info

• Score album: 16 tracks; compact runtime ~24 minutes.
• Label: Stylophonic Recordings; wide DSP availability.
• Trailer music: Wet Leg “Wet Dream”; alt cut with Pale Waves “Lies.”
• Diegetic moments: Prom performance sequences pivot the finale’s tone.
• Region notes: Minor timing shifts reported between edits; placements remain consistent.

Technical Info

• Title: How to Date Billy Walsh (Original Motion Picture Soundtrack)
• Year / Type: 2024 / Score (film features extensive licensed songs)
• Composer: Rob Lord
• Music Supervision: Jack Green; Jenn Egan
• Label / Release: Stylophonic Recordings — Apr 16, 2024
• Selected notable placements: Maisie Peters “Blonde”; Lizzo “Like a Girl”; Wet Leg “Wet Dream”; Dua Lipa “Levitating”; Ashnikko ft. Baby Tate “Stupid”; Sam Ryder “More”
• Film: Prime Video original; UK production; runtime ~100 minutes; release Apr 5, 2024
• Availability: Score on major DSPs; songs via original artist releases

Canonical Entities & Relations

Sources: score album listings and composer updates; scene-by-scene logs compiled by soundtrack databases; major-press reviews for reception context; film credits for music supervision.

November, 10th 2025