"Keanu" Soundtrack Lyrics

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"Keanu (Original Motion Picture Music & Songs)" – Album Guide to Tracks and Key Scenes

Overview

How do you score a kitten heist that keeps swerving between suburban dad energy and faux–gangster bravado? Keanu (2016) splits the job: a propulsive original score (Steve Jablonsky & Nathan Whitehead) for the chases and shootouts, and a sharp bundle of needle-drops—most memorably four George Michael hits—that turn character delusions into full-blown set-pieces. The result is a comedy that weaponizes music literacy: the right track drops and the room’s persona flips.

The songs aren’t just gags. They define tone (soft-focus “Father Figure” turns a minivan into a confessional), world-build (“F**k Tha Police” undercuts cosplay toughness), and even bend reality (a Matrix cue arrives the second a certain voice shows up). According to ScreenRant’s song-by-song guide and timestamped fan databases, placements map closely to scene beats and running jokes.

Questions & Answers

Who composed the score?

Steve Jablonsky and Nathan Whitehead share score credit.

Is there an official various-artists soundtrack album?

No retail compilation; the score and songs exist across individual releases and playlists (fan and editorial).

Who supervised the songs?

Jojo Villanueva is credited as music supervisor on industry listings.

Why so much George Michael?

It’s an intentional character bit: Clarence evangelizes Michael’s music; the film leans into that with “Faith,” “Freedom! ’90,” “Father Figure,” and “One More Try.”

What’s the runtime for timestamp context?

Approx. 100 minutes (theatrical cut).

What’s the trailer ID used below for figures?

uPKCO6BQvBc (Warner Bros. official HD trailer).

Notes & Trivia

• Four George Michael classics appear: “Faith,” “Freedom! ’90,” “Father Figure,” and “One More Try.”
• A snip of Don Davis’s “Main Title/Trinity Infinity” (from The Matrix) underscores a post–bad-trip cameo—on brand.
• End credits roll over Colonel Loud’s “California” (with T.I., Young Dolph, Ricco Barrino).
• The score tag-teams action with sly comedy punctuation; Jablonsky/Whitehead are credited as co-composers.

Genres & Themes

Late-’80s/’90s adult-pop (George Michael) → Vulnerability under the bravado: lush keys and gospel-tinged backing turn “hard” talk into soft confession. That dissonance is the joke—and the warmth.

Classic West Coast rap → Street-movie cosplay: N.W.A. needle-drops announce a pose; the characters immediately undercut it with nerves and etiquette.

EDM/alt-electro → Hustle energy: Oliver and RÜFÜS DU SOL power club runs and quiet scheming, clocking scene rhythm without stepping on punchlines.

Score (percussion + hybrid): punchy ostinatos for pursuits; warm pads under “found-family” beats with the kitten.

Tracks & Scenes

Timestamps are approximate within the 100-minute cut; placements cross-checked with scene-by-scene guides and soundtrack credits. “Diegetic” = heard by characters.

“Faith (Remastered)” — George Michael
Scene: Early car sequence (~00:04). Clarence sings along, daydreams a glam video around himself; reality snaps back at a stop sign. Diegetic → subjective fantasy.
Why it matters: Establishes his pop-devotion—and the film’s music-as-persona bit.

“F**k Tha Police” — N.W.A
Scene: Street drive (~00:14). Rell blasts the track, then turns it down the instant a cruiser appears. Diegetic.
Why it matters: The undercut tells you everything about the cousins’ “hard” act.

“Tap the Bottle” — Young Black Teenagers
Scene: Intel run to Hulka’s place (~00:17). Non-diegetic, quick-cut montage support.
Why it matters: ’90s throwback coloring their amateur sleuthing.

“I Don’t Get Tired (#IDGT)” — Kevin Gates feat. August Alsina
Scene: Entering the HPV strip club (~00:21). Diegetic bleed from inside to floor.
Why it matters: Anchors the first encounter with Cheddar’s world.

“F**k Up Some Commas” — Future
Scene: Club corridor shuffle (~00:24). Non-diegetic, bass-forward.
Why it matters: Money-talk swagger as the duo fakes fluency.

“Night Is on My Mind” — Oliver
Scene: Approaching Anna Faris’s house for the “deal” (~00:39). Non-diegetic.
Why it matters: Slick, nocturnal throb for the film’s most surreal detour.

“Freedom! ’90 (Remastered)” — George Michael
Scene: Car tutorial (~00:41–00:42). Clarence introduces the Blips to George Michael and “the message.” Diegetic (car stereo).
Why it matters: The conversion begins; humor with heart.

“Two Clocks” — RÜFÜS DU SOL
Scene: Post-Faris debrief with Hi-C (~00:43). Non-diegetic, mood reset.
Why it matters: A palate cleanser between comic spikes.

“Father Figure (Remastered)” — George Michael
Scene: Rolling confessional (~00:44–00:46). Clarence earnestly explains the song’s meaning to hardened gangsters; heads nod. Diegetic (car).
Why it matters: The film’s emotional fulcrum disguised as a gag.

“Start Your Car” — Trwbador
Scene: Truth-or-Dare chaos at Anna Faris’s (~00:45). Diegetic → non-diegetic as danger creeps in.
Why it matters: Sugar to salt transition; the moment goes sideways.

“One More Try (Remastered)” — George Michael
Scene: Scar-story bonding (~00:47–00:48). Diegetic (car).
Why it matters: Sincerity lands—ironically via the softest track in the set.

“Tom’s Diner” — Giorgio Moroder & Britney Spears
Scene: Anna Faris’s dare escalates; a gun enters frame (~00:48). Non-diegetic/scene-stylized.
Why it matters: Iconic melody re-contextualized for a tense punchline.

“Honest” — Future
Scene: Clarence’s accidental “Holy Shit” trip at the club (~00:56). Diegetic wash into subjective space.
Why it matters: Sets up the film’s wildest audio gag.

“Main Title/Trinity Infinity” — Don Davis
Scene: After the trip (~01:00). A certain voice speaks; the Matrix cue winks at the audience. Non-diegetic.
Why it matters: Meta-movie joke that rewards anyone who caught the voice credit.

“Ima King” — Jason Rabinowitz, Colton Fisher, Jaron Lamot, Jaycal Johnson, James Katalbas
Scene: Roof argument over who’s winning the gang’s respect (~00:51). Non-diegetic hype.
Why it matters: Ego contest scored like a highlight reel.

“So Much” — Jason Rabinowitz, Colton Fisher, Jaron Lamot, Mansa Wakili, Kelli Wakili, Elgin Thrower Jr.
Scene: Clarence wakes from the trip and answers his phone (~01:02). Non-diegetic.
Why it matters: Groove resets the stakes.

“Don’t Say No” — Jason Rabinowitz, Colton Fisher, Jaron Lamot, Mansa & Kelli Wakili
Scene: Phone-call fallout (~01:06). Non-diegetic.
Why it matters: Bridges domestic stress back into the caper.

“California” — Colonel Loud feat. T.I., Young Dolph, Ricco Barrino
Scene: End credits (~01:34+). Non-diegetic.
Why it matters: Victory-lap sunshine after a bullet-riddled night.

Music–Story Links

• Pop sincerity vs. street posture: Every George Michael cue softens boundaries, letting the Blips drop their act and actually listen.
• Meta-cinema: The Matrix sting arrives with the cameo voice—music as inside joke, not just background.
• Club to car grammar: Diegetic shifts (floor → stereo → non-diegetic) mirror the cousins’ sliding confidence.

How It Was Made

Jablonsky and Whitehead’s score underpins action beats with lean rhythmic writing; additional music and music editing credits support the heavy needle-drop footprint. Music supervision (Jojo Villanueva) threads catalog hip-hop, EDM, library cuts, and a concentrated suite of George Michael songs. Film Music Reporter announced the composer pairing during post, and industry listings confirm department roles.

Reception & Quotes

Reviews called out the soundtrack’s comedic precision and the George Michael running bit. Trade and pop-press pieces noted that four Michael songs made the cut—rare for a studio comedy.

“A kitten caper scored like a pop-culture mixtape.” Variety-era coverage summarized

“Four George Michael hits thread the joke into character.” music press roundups

“The needle-drops are the punchlines.” fan soundtrack guides

Availability: No official VA album; the songs stream individually. Score cues circulate via composer channels and scene-rip playlists.

Additional Info

• End-crawl clearances list multiple library cuts (Amonite, The Math Club writers) alongside marquee tracks.
• “Tom’s Diner” appears in the Moroder/Spears 2015 version—used briefly but memorably.
• “Two Clocks” (RÜFÜS DU SOL) is an outlier stylistically—used as a breath between comic spikes.
• Yes, the Matrix cue is the original Don Davis track—used as a quick wink to the audience.
• Trailer marketing leaned on action beats; in-film, pop actually drives character beats more than gunfire does.

Technical Info

• Title: Keanu (Original Motion Picture Music & Songs)
• Year: 2016
• Type: Original score (Jablonsky/Whitehead) + licensed songs (various)
• Composers: Steve Jablonsky; Nathan Whitehead
• Music Supervision: Jojo Villanueva
• Notable placements: “Faith,” “Freedom! ’90,” “Father Figure,” “One More Try” (George Michael); “F**k Tha Police” (N.W.A); “I Don’t Get Tired” (Kevin Gates); “Night Is on My Mind” (Oliver); “Two Clocks” (RÜFÜS DU SOL); “California” (Colonel Loud ft. T.I., Young Dolph, Ricco Barrino); “Main Title/Trinity Infinity” (Don Davis).
• Runtime (film): ~100 minutes
• Trailer Video ID: uPKCO6BQvBc

Canonical Entities & Relations

Subject	Relation	Object
Steve Jablonsky	composed score for	Keanu (2016)
Nathan Whitehead	composed score for	Keanu (2016)
Jojo Villanueva	music supervised	Keanu
George Michael	performed	“Faith,” “Freedom! ’90,” “Father Figure,” “One More Try” (needle-drops)
N.W.A	performed	“F**k Tha Police”
Don Davis	composed	“Main Title/Trinity Infinity” (The Matrix cue used in film)
Warner Bros. Pictures	distributed	Keanu

Sources: ScreenRant’s song guide; IMDb soundtrack page; Soundtrakd’s timestamped placements; Wikipedia (film & credits); industry listings for music supervision.

Really funny stuff! African Americans, who always conducted the righteous life, once find a small kitten Keanu, which is kidnapped for some reason by a nasty band of really tough motherf**kers. And these two will try to look like gangsters trying to save this cute fluffy kitten, who so amazingly nicely yawns. This is comedy, parody on all this very tough movies with harsh persons who shoots before thinks. George Michael here is provided as an attraction of one of main black fellows and he so devilishly funny sings his Freedom! '90 than you just pee your pants! These two main fellows here are Key & Peele – the ones who participate on Comedy Central channel with their short sketches, on several minutes. We must admit that they are really nice actors and though their stories not always very funny, but they still amuse. To be sincere, George Michael is present here with more than one song, several exactly. Among them are Faith & Father Figure. Most other part of the collection is full of rap, but sometimes contains Hip-Hop (for example, Tap The Bottle by Young Black Teenagers) & for example, N.W.A. with their very explicit lyrics. Tom's Diner is a cover made by Britney Spears. The essence of this song is absolutely usual lyrics that are so exciting by Susanne Vega. In the version that you hear here, they are sung lifeless and in disco-style, which totally kills the mesmerizing mood of original song. We must admit that the only cover, which Britney Spears did well, was I Love Rock And Roll (originally performed by Joan Jett in 1982). The soundtrack as has been divided into two: rap and pop by George Michael. As two worlds, from which the heroes are and their environment at the moment. Very precise. And funny. Did we mention funny? Okay, let’s mention it again – ‘cause this film deserves it.

November, 12th 2025

Find "Keanu" movie on IMDB and Rottentomatoes.com

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