"Magic Mike XXL" Soundtrack Lyrics

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"Magic Mike XXL (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

What happens when a stripper sequel decides to be a hangout road movie scored like a perfect R&B mixtape? Magic Mike XXL (Original Motion Picture Soundtrack) is that answer: a heavily song-driven album where 90s slow jams, boy-band classics and left-field indie tracks carry almost all the emotional weight. The film drops most of the first movie’s recession gloom and leans into generosity and joy; the soundtrack follows, stacked with tracks that are unabashedly sensual, often goofy and surprisingly earnest.

The album, released by WaterTower Music on June 30, 2015, collects fourteen cuts used for routines and key moments in the film. It brings back Ginuwine’s “Pony,” but now as a nostalgic ignition switch rather than the single defining strip anthem. Around it, you get Backstreet Boys’ “I Want It That Way,” Jodeci’s “Freek’n You,” R. Kelly’s “Cookie,” 112’s “Anywhere,” Jeremih’s “All the Time,” Glass Animals’ “Gooey,” plus in-world covers by Matt Bomer and Donald Glover. It feels less like a conventional score and more like the playlist a very specific friend would hand you for a reckless summer weekend.

In the movie, almost every musical moment is diegetic. The guys dance to what we hear. Songs power the drag bar contest, the Savannah mansion detour, the Myrtle Beach convention and even a gas-station mission to make a bored cashier smile. Because we hear the whole tracks, performances become mini short films: the convenience-store boy-band bit, Ken’s tearful “Heaven,” the mirrored finale routine. The soundtrack album can’t carry every cue – there are more than thirty songs in the film – but it hits the spine of that journey.

Genre-wise, the mix leans on R&B, new jack swing and slow jams for intimacy and vulnerability; 90s and 2000s pop for shameless crowd-pleasing; hip hop and trap for bravado; and a few indie and neo-soul cuts for reflection between shows. 90s R&B marks scenes where the guys actually try to see the women in front of them; boy-band pop is weaponised to chase pure joy; more experimental tracks like “Gooey” and “Busy Earnin’” sit under transitional or training montages, hinting at the grind behind the spectacle.

How It Was Made

Where the first Magic Mike relied on supervisor Frankie Pine, the sequel hands the musical reins to Season Kent, credited as music supervisor on the film and widely discussed in interviews as the architect of its sound. Warner Bros. executive Darren Higman again appears in the music credits above her, but the song curation, sequencing and licensing strategy are Kent’s territory.

The official album, Magic Mike XXL (Original Motion Picture Soundtrack), is a various-artists compilation released June 30, 2015 through WaterTower Music, with fourteen tracks and standard “This compilation ℗ 2015 WaterTower Music as licensee for Warner Bros. Entertainment Inc.” language on digital services and physical editions. Label notes describe it as a sensual blend of 90s staples and contemporary R&B, explicitly calling out how the film turns “I Want It That Way” into striptease fuel.

Production-wise, choreography and song choices were welded together early. According to an Entertainment Weekly feature, Kent and the choreographers built entire numbers around very specific tracks – Backstreet Boys for Joe Manganiello’s gas-station dare, 112’s “Anywhere” and Nine Inch Nails’ “Closer” for the final convention routines, and “Cookie” for Mike’s mirror dance. A separate Cosmopolitan interview with Kent lays out how some songs migrated from the first film’s wish list into the sequel: the 112 and NIN cuts in particular were choices Channing Tatum had floated earlier and finally got to use here.

The actors’ own vocals are also a key part of the design. Matt Bomer records covers of D’Angelo’s “Untitled (How Does It Feel)” and Bryan Adams’ “Heaven,” used diegetically in Nancy’s Savannah mansion and at the convention. Donald Glover sings “Caroline” and Bruno Mars’ “Marry You” live on set as a kind of in-movie hype man, easing clients into their fantasy before the others perform. WaterTower cuts those performances into polished soundtrack tracks but leaves enough looseness to keep the lived-in feel.

Tracks & Scenes

Below is a selection of key songs and how they are used in the film, drawing on scene-by-scene breakdowns and the film’s own credits. Timestamps refer to a runtime of about 1h55.

"Numpty" — Paolo Nutini
Where it plays: Around 0:01, right over the opening. We are dropped into Mike’s new life in Tampa, long after he has left stripping. The track plays non-diegetically as we see him working alone in his small furniture workshop, the camera lingering on sawdust, welding sparks and half-finished pieces. Its scruffy, slightly melancholy groove sets a quieter tone than you might expect from a stripper sequel.
Why it matters: It tells us immediately that this isn’t just the first film again. Mike is in a different chapter, and the soundtrack is willing to sit with that before the movie goes back to gyrations and spotlights.

"Crazy Train" — Ozzy Osbourne
Where it plays: Around 0:03, when Mike arrives at the pool party where the old crew is gathered. The riff roars in as he steps into the chaos: inflatable toys, beers, aging Kings of Tampa clowning around. It is diegetic, blasting from the party speakers, with shouting layered over the guitar line.
Why it matters: It signals that as soon as Mike reconnects with the crew, we are back on the roller coaster. Classic rock here stands for the throwback showmanship the guys built their careers on.

"Pony" — Ginuwine
Where it plays: Around 0:08 and again near 1:51. First, Mike hears “Pony” on the radio while alone in his workshop. He hesitates, then grins and starts dancing on the shop floor – flipping onto workbenches, grinding on tools, rediscovering his body as an instrument. Later, the track returns during the credits as a kind of curtain call. Both uses are diegetic: first from the radio, later from the convention PA and then the cinema speakers spilling into the lobby.
Why it matters: In the first film, “Pony” is Mike’s calling card. Here, it becomes a memory trigger and a permission slip. The workshop dance is basically him asking himself, “Do I still want this?” and answering with his muscles.

"Ain’t There Something That Money Can’t Buy" — Nick Waterhouse
Where it plays: Around 0:10, as the guys pack up in Tampa and hit the road to Myrtle Beach in Tito and Tobias’s fro-yo van. The song plays over a mini road-trip montage – duffel bags thrown in, cheap motels, the van pulling away from the water. It is non-diegetic but matches the diegetic hum of the van and the wind through open windows.
Why it matters: The title is the thesis for XXL’s softer worldview. The Kings are chasing one last big paycheck, but the film keeps insisting that connection and joy matter more than the dollar bills being stuffed into thongs.

"Hot Stuff" — Donna Summer
Where it plays: Around 0:14, the first song we hear inside Mad Mary’s club. The space is cramped and smoky, the clientele older, the drag performers generous with side-eye. A queen named Tori Snatch is on stage, lip-syncing and working the room while the guys watch from the sidelines. The track blares diegetically through battered speakers.
Why it matters: The song choice is playful and a nod to other strip narratives like The Full Monty, but it also underscores that Mike and his friends are stepping into someone else’s space now. They are tourists here, not stars.

"Jealous" — Drootrax feat. Reenna
Where it plays: About 0:16, as Mike moves deeper into Mad Mary’s and up toward the stage. The track pulses while he sizes up the room, negotiates entry into the drag contest and starts to loosen up. It is diegetic club background, woven under dialogue and crowd noise.
Why it matters: This is Mike testing whether he still enjoys performing when the stakes are low and the space is unfamiliar. The track’s slick, modern feel separates this stop from the old-school vibe of Xquisite.

"Pharaohs" — SBTRKT feat. Roses Gabor
Where it plays: Around 0:22, during a quieter interlude at the beach. Mike leaves the campfire, walks along the shoreline and runs into Zoe. The song shimmers in the background, part diegetic, part score-like, while they trade wary banter. Soundtrackradar’s breakdown notes this as the track playing when he meets her away from the group.
Why it matters: The track’s slightly futuristic UK bass feel makes the moment feel out of time. This is not a stripper routine; it is the beginning of a relationship that might survive after the lights go down.

"Ladies" — Lee Fields & The Expressions
Where it plays: Around 0:24, as Mike and Zoe continue talking on the beach. The vintage soul groove wraps the conversation in warmth, making their flirtation feel more like an old record than a hook-up at a convention-adjacent bonfire.
Why it matters: Lee Fields’ voice quietly shifts the movie into romance mode. We hear the difference between stage music and the music that plays when the guys actually listen to someone.

"I Want It That Way" — Backstreet Boys
Where it plays: Around 0:33, in the gas-station convenience-store scene that has basically become XXL’s calling card. Richie walks into the minimart, sees the bored cashier and freezes. When the familiar intro starts up over the store radio, he takes it as a sign and launches into a ridiculous, acrobatic strip-dance down the aisles: water-bottle showers, Cheetos as props, junk-food choreography. The song is fully diegetic and the scene is cut around every beat. Pop Culture References and later commentary describe it as the centerpiece of the film’s “we will do anything to make women happy” ethos.

Why it matters: This turns a late-90s teen-pop ballad into a labour of love. The routine is about Richie confronting his insecurity about whether he still has “it” and choosing to risk humiliation for the chance to make one stranger smile. After this, the convention feels less like a competition and more like a communal service.

"Move That Dope" — Future feat. Pharrell, Pusha T and Casino
Where it plays: Around 0:42, when Mike goes to Rome’s club in Savannah to ask for help. The track rattles through the sound system as he walks past dancers, champagne rooms and miniature stages. Hip hop here is all about power and negotiation; the beat keeps everything a little dangerous.
Why it matters: It sets Rome’s world apart from both Tampa and Myrtle Beach. She runs a different kind of fantasy factory, and this music says she calls the shots.

"Freek'n You" — Jodeci
Where it plays: Around 0:45, as Rome shows Mike her house strippers in action. One dancer gives a detailed lap dance to an older woman, framed almost like a religious experience. The song is diegetic, slow and explicit, holding the camera in place while time dilates.
Why it matters: Jodeci is pure 90s bedroom soundtrack, and using it on a heavier woman – seen, desired, centred – is the film’s mission statement in miniature: the fantasy is for everyone, not just the stereotypical bachelorette.

"Sex You" — Bando Jonez
Where it plays: Around 0:48, as another Rome dancer tag-teams in and the atmosphere tips from sultry to outright filthy. The track is again diegetic, blaring in the small room while the men work the clients like seasoned therapists of touch.
Why it matters: The song pushes the sequence to its edge without tipping into cruelty. It is about pleasure given, not conquest, which ties to the film’s recurring emphasis on consent and attentive performance.

"Caroline" — Donald Glover
Where it plays: Around 0:51, at Rome’s club. Glover’s character Andre serenades a client named Caroline, singing gently into her ear while other dancers orbit. The arrangement is stripped-down, almost coffeehouse, and the entire room seems to recede so we only see her and him.
Why it matters: This is the movie’s statement that not every fantasy has to involve flipping someone upside down. A simple, intimate song can be just as powerful. An Essence interview with Glover later singled this scene out as one of his key moments in the film.

"Feel It" — Jacquees feat. Rich Homie Quan & Lloyd
Where it plays: Around 0:56, when Mike jumps in to prove to Rome he still has what it takes. He literally vaults over another stripper and launches into a routine to this track, pushing harder with each bar. The song is diegetic, bathing the room in bass as both Rome and the women reassess him.
Why it matters: It is Mike re-auditioning for the life he already had. The track’s hook – “Can you feel it?” – is almost a dare to Rome and to the audience.

"Give It To the People" — The Child of Lov
Where it plays: Around 1:02, as Andre takes the guys to Savannah socialite Nancy’s mansion. The song plays over shots of the van pulling into the driveway, the guys walking past art and wine, and the women sizing them up from couches and balconies.
Why it matters: The title might as well be the Kings’ new mission: bring pleasure to women who have not been allowed to ask for exactly what they want. The off-kilter funk groove fits the slightly surreal feeling of this detour.

"Try To Be True" — Caroline Peyton
Where it plays: Around 1:10, still at Nancy’s house. Mike and Zoe fetch a basket of wine from the kitchen while this warm, 70s folk-soul track plays on the stereo. The rest of the party hums in the background, but the scene narrows to the two of them, talking about lives they might prefer to be living.
Why it matters: The song’s title and era add another layer to Mike’s arc about honesty. He is trying to be true to himself and to Zoe while standing in the middle of a stranger’s fantasy party.

"Heaven" — Matt Bomer
Where it plays: Around 1:12, in Nancy’s living room. One of the women admits her marriage has gone cold and that Bryan Adams’ “Heaven” was “their song.” Ken (Matt Bomer) steps in, starts singing the ballad live and slowly turns it into a soft-strip routine that coaxes tears and laughter out of her and the rest of the room. The song is fully diegetic, with Bomer’s vocals naked at first, then supported by the band.
Why it matters: Interviews in outlets like People and E! emphasised how important this scene was to Bomer; he insisted on playing it as sincere comfort, not just titillation. It’s one of the clearest expressions of XXL’s belief that these men can be caretakers, not just eye candy.

"Untitled (How Does It Feel)" — Matt Bomer
Where it plays: Around 1:18, as the guys prep for and begin their convention performances. The song serves as Ken’s big solo at the Myrtle Beach showcase, bathed in blue light, choreographed to echo D’Angelo’s original video. The camera alternates between his slow, controlled movements and the rapt faces in the crowd.
Why it matters: It is as close as the movie comes to straight-up fan service, but it also gives Ken interiority. He is not just a Ken doll; he is an ageing performer trying to prove he can still deliver this level of vulnerability in front of thousands.

"No Other Way" — Ray LaMontagne
Where it plays: Around 1:19, as the crew leaves Nancy’s house and drives to their hotel. The song plays non-diegetically over shots of the van in the dark, the men quietly decompressing. The mood is reflective, almost autumnal.
Why it matters: It’s a breather between two sets of fantasy. Folk-rock here captures the feeling of being in your 30s and 40s, chasing one last big night while knowing you cannot live like this forever.

"The Groove Line" — Heatwave
Where it plays: Around 1:21, during a training montage at the hotel. The guys practise routines in a conference room, on balconies, in hallways; we see stretches, missteps, laughter. The song is non-diegetic but cut to match their movements.
Why it matters: It reframes the convention not as a desperate gamble but as a team sport. Old-school disco-funk plus middle-aged bodies equals an oddly wholesome kind of athleticism.

"Busy Earnin’" — Jungle
Where it plays: Around 1:26, just before the competition starts, as the guys register and take in the chaos backstage. The track plays over various groups of dancers, merch tables and glitter explosions.
Why it matters: The title is on the nose: everyone here is busy earning, but XXL keeps nudging us to ask what they are actually earning – money, applause, or some kind of self-respect.

"Candy Shop" — 50 Cent feat. Olivia
Where it plays: Around 1:34, when Tito kicks off his solo routine at the convention. The performance leans into food imagery and prop comedy, playing the lyrics almost too literally.
Why it matters: It is the broadest number in the finale, but it serves a structural purpose: step one in the escalating sequence of personalised fantasies, before the film moves into weirder, riskier territory.

"Marry You" — Donald Glover
Where it plays: Around 1:40, backstage just before Richie’s big moment. Andre sings “Marry You” to a group of women to get them hyped and emotionally open. It is softer than what follows, but it frames Richie’s upcoming routine as the culmination of some women’s long-buried romantic fantasies.
Why it matters: The cover underscores Andre’s role as an emotional translator. He gets women to admit what they actually want, then hands them off to the dancer best suited to deliver it.

"Closer" — Nine Inch Nails
Where it plays: Around 1:42, for Richie’s convention routine. After “Marry You” winds them up, the lights drop and the infamous NIN beat slams in. Richie, dressed in a tuxedo, slowly demolishes both the suit and the polite distance between himself and the woman onstage. The scene layers strobe, smoke and full-throttle grinding.
Why it matters: As Entertainment Weekly later noted, this number is deliberately extreme, pushing Richie’s “big dick energy” to its logical, absurd conclusion. It is also a neat example of how XXL uses a song’s reputation – “Closer” is already notorious – and recontextualises it as one woman’s private apocalypse.

"Anywhere" — 112
Where it plays: Around 1:45, the first section of Mike’s final performance. He and his partner Malik work a mirrored platform, moving in near-perfect sync as 112’s late-90s slow jam plays. The choreography looks simple at first but, as choreographer interviews explain, was one of the hardest pieces to nail because both men had to stay in sync while selling intimacy to the woman between them.
Why it matters: It is the first sign that XXL’s finale will not just be about one-upmanship but about collaboration and precision. The song’s lyrics about doing anything, anywhere, for a lover map cleanly onto Mike’s commitment to designing the routine specifically for Zoe.

"All the Time" — Jeremih feat. Lil Wayne & Natasha Mosley
Where it plays: Around 1:46, in the second phase of Mike’s mirror routine. The moves become more acrobatic, the body contact more explicit. The track is diegetic, slamming through the convention sound system and turning the space into a club.
Why it matters: This is the technical high point of the performance, and the track’s explicitness keeps the energy from drifting into pure romance. XXL wants to keep one foot firmly in the realm of unapologetic filth.

"Cookie" — R. Kelly
Where it plays: Around 1:47, in the last section of the mirror routine when Mike and Malik go fully off the leash. The choreography leans into the song’s dessert imagery; they literally treat Zoe like someone whose cravings they have studied. A widely-cited Entertainment Weekly breakdown notes this was one of the first dances choreographed for the film.
Why it matters: Setting aside the artist’s later criminal convictions, which understandably complicate any enjoyment of his work, the cue is used as a blunt, dirty joke that also pays off a throwaway earlier line where Mike calls himself “a cookie man.” It’s low-hanging fruit, and the film knows it.

"Gooey" — Glass Animals
Where it plays: Late in the final stretch and into the credits. The song’s woozy, psychedelic groove slides over images of the convention aftermath and, in some cuts, over behind-the-scenes footage and snapshots of the guys leaving the stage.
Why it matters: It is the hangover in audio form – soft, slightly surreal, and sticky. After all the precision of “Anywhere” and “Cookie,” “Gooey” lets the film ooze into a less defined emotional state: relief, nostalgia, exhaustion.

Notes & Trivia

• The official album carries fourteen tracks, but soundtrack guides count roughly thirty-six songs in the film, including brief diegetic snippets and club cuts that never made it to the CD or digital album.
• Season Kent, not Frankie Pine, handles music supervision this time; trade pieces repeatedly mention her 2015 run of soundtracks, pairing Magic Mike XXL with Paper Towns, The Longest Ride and others.
• WaterTower’s album sequence opens with “Pony,” even though the movie itself opens with Paolo Nutini’s “Numpty”; the label leans into recognisability rather than strict chronology.
• Several songs used for major routines are older catalogue tracks from the late 90s and early 2000s – a deliberate age-match to the characters, who would have been teenagers when those songs first hit radio.
• Fans have pointed out small internal callbacks, like Mike describing himself as a “cookie man” at Nancy’s house and later dancing to “Cookie” in the finale.
• Paolo Nutini’s “Numpty” does not appear on the core album despite being the literal first sound we hear in the film.
• Unofficial playlists and user-curated albums on Spotify and YouTube attempt to recreate the “complete XXL soundtrack” by adding non-album cues like “Numpty,” “Move That Dope,” “Busy Earnin’” and more.

Music–Story Links

The sequel’s story is simple: one last ride to a stripper convention. The soundtrack is where most of the nuance lives. Early cues like “Numpty” and “Pony” track Mike’s tug-of-war between a stable but unexciting furniture business and the rush of performance; as soon as “Pony” comes on, he literally cannot keep still. By the time “Anywhere” and “Cookie” roll around, he has accepted that he is, at least for now, someone who speaks best with his body on a stage.

Richie’s arc hinges almost entirely on “I Want It That Way” and “Closer.” In the gas station, the Backstreet Boys track transforms his fear of failure into a balletic comic set piece. At Myrtle Beach, Nine Inch Nails gives him permission to go feral. Put together, those two songs cover his journey from self-doubt to self-parodying rock god.

Ken’s inner life is written in ballads. His rendition of “Heaven” at Nancy’s house shows the spiritual side of what the Kings do – he is trying to heal something, not just titillate. Later, “Untitled (How Does It Feel)” presents him as an object of desire in a much more controlled way, but the emotional throughline is the same: he is most himself when he is singing sincerely, not when he is delivering pre-fab thrusts to EDM.

Zoe and Nancy’s mansion function as moral and emotional checkpoints for Mike. Songs like “Ladies,” “Try To Be True,” “No Other Way” and “Gooey” mark scenes where he is forced to admit what he actually wants – a partner who sees him, and work that feels like art rather than just hustle. The music is gentler, more analogue, less dominated by obvious hooks, which tells us he is stepping out of the cartoon zone of the convention.

Reception & Quotes

Magic Mike XXL received more mixed reviews than the first film but built a strong cult following. Aggregators put it in the low-to-mid 60s out of 100 – roughly 66% on Rotten Tomatoes and 60 on Metacritic – with critics often divided on the thinness of the plot but unusually aligned on the soundtrack and the film’s easy-going, sex-positive warmth.

“Magic Mike XXL has enough narrative thrust and beefy charm to deliver another helping of well-oiled entertainment.”
— Critics’ consensus, Rotten Tomatoes

“The music supervisor deserves a special shout-out… turning boy-band schmaltz and R&B slow jams into a sincere language of worship.”
— Music-focused review of the film

“From Manganiello’s convenience-store ballet to Bomer’s ‘Heaven,’ the soundtrack is the real star of this encore.”
— Hollywood trade coverage of the album

“This is less a drama than a two-hour musical revue about listening to women and getting the song choice right.”
— Feature essay on XXL’s gender politics

The album itself charted modestly but respectably on soundtrack and R&B-related charts in 2015, riding the film’s opening and Matt Bomer’s surprising streaming success with “Untitled (How Does It Feel)” and “Heaven.” According to the label and store listings, the compilation remains available worldwide on major streaming services and as a physical CD, often surfaced in “sexy R&B movie” algorithm rows next to titles like Fifty Shades of Grey.

Interesting Facts

• WaterTower’s album closes with Matt Bomer’s “Heaven,” even though in the film it plays mid-movie; album sequencing moves it into an epilogue position.
• Some regional and promotional versions foreground Bomer’s and Glover’s tracks, packaging them almost like singles from a cast album rather than just soundtrack cuts.
• Season Kent has said Channing Tatum originally wanted a different R&B song for his first Magic Mike “Pony” dance, and that some of those ideas were recycled into XXL’s convention routines.
• Backstreet Boys members publicly embraced the gas-station scene; the band’s official channels shared the clip, helping reframe “I Want It That Way” as both wedding slow-dance staple and stripper-jam meme.
• 112’s “Anywhere” saw a modest streaming bump after the film, as choreo breakdowns and convention GIFs circulated on social media.
• Soundtrackradar and similar sites became de facto authorities on XXL’s full playlist, because the film’s credits roll through songs too quickly for casual viewers to catch every title.
• Paolo Nutini’s “Numpty” became a minor cult favourite among fans who appreciated the way the film grounded itself in Mike’s day job before the road trip.
• The soundtrack’s mix of white and Black artists across genres has been read as a quiet acknowledgement of how much black music underpins American strip-club culture, even when the performers on stage are mostly white.
• There is no separate “score” album; incidental cues are minimal and never grouped into a release, keeping the XXL discography entirely song-focused.

Technical Info

• Title: Magic Mike XXL (Original Motion Picture Soundtrack)
• Film: Magic Mike XXL (2015), directed by Gregory Jacobs, written by Reid Carolin
• Year of album release: 2015 (June 30 in the US)
• Type: Various-artists film soundtrack (song compilation; effectively no separate orchestral score)
• Label: WaterTower Music, as licensee for Warner Bros. Entertainment Inc.
• Album length: 14 tracks on standard digital and CD configurations (runtime a little under one hour)
• Representative album tracks (selection): “Pony” (Ginuwine), “Ain’t There Something That Money Can’t Buy” (Nick Waterhouse), “I Want It That Way” (Backstreet Boys), “Freek’n You” (Jodeci), “Sex You” (Bando Jonez), “Feel It” (Jacquees feat. Rich Homie Quan & Lloyd), “Give It to the People” (The Child of Lov), “Untitled (How Does It Feel)” (Matt Bomer), “Marry You” (Donald Glover), “Anywhere” (112), “All the Time” (Jeremih feat. Lil Wayne & Natasha Mosley), “Cookie” (R. Kelly), “Gooey” (Glass Animals), “Heaven” (Matt Bomer)
• Music supervision: Season Kent (with Darren Higman as EVP Music at Warner Bros.)
• Key on-screen performers: Channing Tatum (Mike), Joe Manganiello (Richie), Matt Bomer (Ken), Donald Glover (Andre), Jada Pinkett Smith (Rome), Andie MacDowell (Nancy), Amber Heard (Zoe)
• Release context: Sequel to 2012’s Magic Mike, released July 1, 2015 in the US; soundtrack rolled out two days earlier as part of marketing.
• Availability: Widely available on major streaming platforms (Apple Music, Spotify, Amazon Music) and on CD; catalogue listing confirms WaterTower as the imprint.

Canonical Entities & Relations

Entity	Type	Relation statement
Magic Mike XXL	Film	Magic Mike XXL is a 2015 American comedy-drama film directed by Gregory Jacobs and written by Reid Carolin.
Magic Mike XXL (Original Motion Picture Soundtrack)	Music album	The album compiles selected songs from Magic Mike XXL and is released by WaterTower Music as a various-artists soundtrack.
Gregory Jacobs	Person	Gregory Jacobs directs Magic Mike XXL and serves as one of its producers.
Reid Carolin	Person	Reid Carolin writes the screenplay for Magic Mike XXL and produces the film.
Channing Tatum	Person	Channing Tatum stars as Mike Lane and co-produces Magic Mike XXL.
Joe Manganiello	Person	Joe Manganiello plays Richie in Magic Mike XXL and performs the gas-station routine set to “I Want It That Way.”
Matt Bomer	Person	Matt Bomer plays Ken in Magic Mike XXL and performs soundtrack covers of “Heaven” and “Untitled (How Does It Feel).”
Donald Glover	Person	Donald Glover plays Andre in Magic Mike XXL and performs “Caroline” and “Marry You” on the soundtrack.
Season Kent	Person	Season Kent is the music supervisor for Magic Mike XXL and oversees the soundtrack’s song selections.
WaterTower Music	Organization	WaterTower Music releases Magic Mike XXL (Original Motion Picture Soundtrack) as an official compilation.
Ginuwine	Person	Ginuwine performs “Pony,” used both in Mike’s workshop dance and over the film’s credits.
Backstreet Boys	Music group	Backstreet Boys perform “I Want It That Way,” which scores Richie’s convenience-store dance sequence.
112	Music group	112 perform “Anywhere,” used in the first section of Mike’s mirror routine in the Myrtle Beach finale.
Jodeci	Music group	Jodeci perform “Freek’n You,” heard during Rome’s club sequence when a dancer gives a lap dance to an older woman.
R. Kelly	Person	R. Kelly performs “Cookie,” used for the last part of Mike and Malik’s mirror routine in the film’s finale.
Glass Animals	Music group	Glass Animals perform “Gooey,” which plays late in the film and into the credits.
Warner Bros. Pictures	Organization	Warner Bros. Pictures distributes Magic Mike XXL theatrically and via home media.

Questions & Answers

Is there a separate orchestral score release for Magic Mike XXL?

No. The film uses licensed songs and a few short cues, but only the various-artists song compilation has been released; there is no standalone score album.

How many songs are actually used in Magic Mike XXL compared to the album?

The official soundtrack album has 14 tracks, while scene-by-scene breakdowns list around 36 songs in the film, including brief snippets and non-album cues.

Who sings “Heaven” and “Untitled (How Does It Feel)” in the movie?

Matt Bomer, as Ken, sings both. He covers Bryan Adams’ “Heaven” at Nancy’s house and D’Angelo’s “Untitled (How Does It Feel)” for his Myrtle Beach solo, and both versions appear on the album.

What song is playing during Joe Manganiello’s convenience-store dance?

That scene is set to Backstreet Boys’ “I Want It That Way,” heard diegetically over the gas-station radio while Richie turns the aisles into his stage.

Where can I listen to the Magic Mike XXL soundtrack today?

The album Magic Mike XXL (Original Motion Picture Soundtrack) is available on major services like Apple Music, Spotify and Amazon Music, as well as on CD through WaterTower Music’s distributors.

Sources: Magic Mike XXL film entry and soundtrack section; WaterTower Music release page for the album; Apple Music, Spotify and Discogs listings for Magic Mike XXL (Original Motion Picture Soundtrack); scene-by-scene song breakdown from Soundtrackradar; interviews with music supervisor Season Kent in Entertainment Weekly and Cosmopolitan; coverage of Matt Bomer’s and Donald Glover’s musical scenes in People, E! and Essence; essays and features on the gas-station “I Want It That Way” sequence from outlets like Decider, Glamour and Pop Culture References.

Another work of Channing Tatum, where he shines with his phenomenally perfect body. Add the smooth movements, apparently a result of good work with own choreographer – and you will get an overall impression of the Magic Mike XXL film. Audible selection matches – an easy Pony , playful Ain't There Something Money Can't Buy , anti-abstruse Cookie by R. Kelly. At the same time, listeners will be able to enjoy such hits of past years like I Want It That Way by Backstreet boys and Heaven sung by Matt Bomer. Slow Freek'n You and different Sex You diluted with a bit spasmodic Feel It and with strange Give It To The People. Known song Marry You, re-done by Donald Glover, is almost unrecognizable in his performance. All The Time by Lil Wayne makes you feel sleepy like after the 10th cocktail in the lounge club. In general, the selection can be described as a mixture of R'n'B and a lounge, which can be listened whilst slowly driving own off roader for already three hundred miles in a row. Just do not fall asleep! Weapon yourself with a couple of Red Bulls!

November, 15th 2025

Find movie profile on IMDb, more info on Wikipedia

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