"Like a Boss" Soundtrack Lyrics

"Like a Boss (Music From the Motion Picture)" – Album Guide to Tracks and Key Scenes

Overview

How do you score a 83-minute cosmetics-startup comedy built on friendship and petty wars? With a pop-leaning needle-drop mix around a compact, gag-titled score. The movie itself leans on radio-ready cuts—club, Latin, indie, empowerment—while the released album is a score-only set by Christophe Beck and Jake Monaco. That split matters: on screen you hear Lizzo, Celia Cruz, Toro y Moi and others; on record you get quick, punchline-friendly cues like “Ghost Pepper Attack” and “Heal This Booty Hole and the Angry Carrot.”

The tone is brisk and glossy. Songs annotate social spaces (house party, celebratory signing, dressing-room hype) and the score stitches transitions, slapstick, and reversals. Per the label notes and trade coverage, Paramount Music issued the 21-track score digitally on January 10, 2020; the film opened the same day in the U.S. The result plays like a two-column soundtrack: songs to sell scenes, cues to sell timing.

Questions & Answers

Who composed the original score?

Christophe Beck and Jake Monaco.

Is there an official soundtrack album?

Yes—Like a Boss (Music from the Motion Picture), a 21-track digital score album released by Paramount Music on January 10, 2020.

Does the film feature licensed songs beyond the score?

Yes. The film uses a wide slate (Lizzo, K.Flay, Celia Cruz, Toro y Moi, Yuno, etc.); several are not on the score album.

What’s the opening music?

Lizzo’s “Worship” plays over the start/intro beats.

What rolls over the first end-credit card?

K.Flay’s “Sister.” A second credits track follows (“We Gonna Do Our Thing” by Bobby Eaton).

How long is the film vs. the album?

Film ~83 minutes; album ~32 minutes across 21 cues.

Notes & Trivia

• The on-screen songs number ~40+ according to public guides; only the score got a retail album.
• Two composers tag-team the score; cue titles read like joke buttons tailored to scene gags.
• Several diegetic bits are performed in-scene (e.g., short comic vocal moments by the cast).
• Trailer music includes non-film cuts; don’t expect those exact mixes in the feature.

Genres & Themes

Pop/R&B empowerment — confidence cues for boutique swagger and “fake-it-till-you-nail-it” montage energy.

Latin classics & salsa — celebratory authority during corporate win-moments; aural “confetti” that underlines ostentation.

Indie/alt & chill-electronic — house party and after-hours vibe; frames friendship beats away from boardrooms.

Comedy score miniatures — sub-two-minute cues for pratfalls, pitch meetings, and reversals; pizzicato, hand-percussion, bright synth taps.

Tracks & Scenes

“Worship” — Lizzo
Scene: Opening titles/introduction. Non-diegetic. The track sets a boss-energy thesis as Mel & Mia strut through their boutique routine. Why it matters: immediate confidence signal; tells us the movie plays pop-forward even before dialogue settles.

“Love Em Leave Em” — Amindi & Kari Faux
Scene: Arrival at Margot’s (Kim’s pre-baby gift party). Non-diegetic, party source-adjacent. Why it matters: bridges social banter and early plot stakes while sketching Mia’s breezy bravado.

“No Going Back” — Yuno
Scene: Driving home after refusing Claire Luna’s first offer. Non-diegetic. Why it matters: the lyric stance mirrors a principled stand—right before reality (debt) bites.

“Quimbara” — Celia Cruz (with Johnny Pacheco)
Scene: Celebration after signing with Claire. Semi-diegetic in a glossy setting; the scene’s choreography turns ostentation into a joke. Why it matters: the song’s swagger contrasts with the deal’s strings attached.

“Freelance” — Toro y Moi
Scene: At Harry’s party: Mel & Mia dance and quiz guests about makeup. Diegetic party source. Why it matters: cool-kid backdrop that highlights their product-culture fluency and loosens the comedy.

“Best Life” — Koyotie
Scene: Re-team montage when the duo plots payback. Non-diegetic. Why it matters: affirmation cut that flips the film back to collaboration rather than competition.

“Sister” — K.Flay
Scene: First end-credits card. Non-diegetic. Why it matters: blunt theme—sisterhood wins—landing as the friendship arc locks.

“We Gonna Do Our Thing” — Bobby Eaton
Scene: Second end-credits slot. Non-diegetic. Why it matters: a looser coda that lets the theater empty on groove rather than plot.

Score cues on album (select): “Elevator Plot,” “Ghost Pepper Attack,” “Beauty and Bubbles / Mia Quits,” “Like a Sister,” “Presentation Video.” These stitch set-pieces and button jokes; the cue names often point to the gag.

Trailer notes: Marketing uses alternates; not every trailer track appears in the feature cut.

Music–Story Links

Empowerment pop frames Mia & Mel’s public image even when the business wobbles; when they split, the songs thin out and the score carries more momentum, then the needle-drops swell again as they reunite (“Best Life”). Salsa exuberance (“Quimbara”) papers over a bad deal—music as misdirection. The credits one-two (“Sister” → groove) converts a corporate skirmish into a friendship victory lap.

How It Was Made

Score by Christophe Beck and Jake Monaco; Paramount Music handled the digital release. Album sequencing favors short cues—comedy-friendly and editor-friendly. Public cue sheets and composer pages list a compact team (music editor, mixer, coordinators), and the film itself premiered January 10, 2020 with the score released day-and-date.

Reception & Quotes

Coverage of the film was mixed, but the music conversation focused on the split personality (song-heavy film; score-only album) and the punchy cue titles.

“Paramount Music will release a soundtrack album… original music composed by Christophe Beck & Jake Monaco.” Film Music Reporter

“Music: Christophe Beck, Jake Monaco.” Film/encyclopedia entries

Additional Info

• Opening day in the U.S.: January 10, 2020.
• Score album: 21 tracks (~32 minutes), digital.
• On-screen songs exceed 40 titles; many are not on the album.
• End credits: “Sister” (first slot), then “We Gonna Do Our Thing.”
• Trailer uploads (regional Paramount channels) feature alternate music not in the film.

Technical Info

• Title: Like a Boss (Music From the Motion Picture)
• Year / Type: 2020 / Original score album + numerous licensed songs in film
• Composers: Christophe Beck; Jake Monaco
• Label: Paramount Music (digital)
• Key licensed placements (film): Lizzo — “Worship” (opening); Amindi & Kari Faux — “Love Em Leave Em”; Yuno — “No Going Back”; Celia Cruz — “Quimbara”; Toro y Moi — “Freelance”; Koyotie — “Best Life”; K.Flay — “Sister” (end-credits); Bobby Eaton — “We Gonna Do Our Thing” (end-credits)
• Film release: January 10, 2020 (U.S.); runtime 83 min
• Availability: Score on Apple Music/Spotify; song uses catalog/compilations vary by territory

Canonical Entities & Relations

Sources: Film Music Reporter; Paramount Music / Apple Music & Spotify listings; Soundtracki (song uses & scenes); RingoStrack (song roster); Wikipedia (film basics); official trailers on YouTube.

November, 13th 2025