"Miss You Already" Soundtrack Lyrics

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"Miss You Already (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

What does lifelong friendship sound like when life starts swinging a wrecking ball? Here — crunchy guitars for bravado, tender indie keys for private doubt, and one goodbye song that hurts more because the writer is on screen. Miss You Already follows Milly and Jess through pregnancy, diagnosis, separation, and a late return to grace; the soundtrack mirrors that path with jukebox hooks, 90s alt fingerprints, and a handful of originals cut to picture.

The mood slides by phases: arrival (loud, confident, “we’re fine” energy); adaptation (quieter alt-pop and chiming guitars as realities settle in); rebellion (club-leaning beats and cathartic rock when the characters run from consequences); collapse (ballads, stripped textures, score). That shape is deliberate — the commercial album mixes marquee cuts (R.E.M., Broken Bells, Band of Skulls, Moby) with bespoke originals from Paloma Faith, Labrinth, Tyson Ritter and Joan Jett.

Genres & themes map cleanly. Indie/electronic pulses = coping rituals. Classic alt-rock = identity clung to under stress. New original ballads = the words these people cannot say in dialogue. According to the label’s release notes, two Diane Warren co-writes (for Paloma Faith and Labrinth) were commissioned to hit the story’s specific emotional beats.

How It Was Made

Catherine Hardwicke directs; Morwenna Banks adapts her own BBC radio play. Harry Gregson-Williams provides the score. The song album (Miss You Already — Original Motion Picture Soundtrack) arrived digitally 25 Sep 2015 and on CD 6 Nov 2015 via Sony Classical; it mixes catalog staples with newly recorded tracks for the film. Press materials name Paloma Faith and Labrinth as performing originals written for the picture, alongside contributions by Tyson Ritter and Toni Collette (appearing on a club cut).

The track list is compact — 13 cuts — sequencing from Joan Jett’s title song through R.E.M., Broken Bells, Band of Skulls, Moby (with Damien Jurado), Ritter’s “There’s a Place,” and a closing Gregson-Williams cue. Vinyl issues and retailer listings mirror that order. The film itself also leans on additional source cues (e.g., Jane’s Addiction) beyond the album’s scope.

Tracks & Scenes

"Miss You Already" — Joan Jett & the Blackhearts
Where it plays: A punchy opener/use in promos and early film beats: guitars over London street cuts and best-friends banter, establishing swagger before the diagnosis lands. Non-diegetic, short placement; the hook returns in marketing and endcard materials.
Why it matters: Title on the nose, but effective — frames the whole film as a pre-emptive elegy that still rocks.

"The Crazy Ones" — Paloma Faith
Where it plays: Mid-film montage when Milly resists the “patient” identity — night drives, bar chatter, impulsive choices — while Jess tries to keep normal life afloat. Non-diegetic song that rubs against the scenes’ consequences.
Why it matters: Written for the film; its chorus celebrates unruly life exactly when control is slipping.

"What We Leave Behind" — Labrinth
Where it plays: A reflective sequence around treatment and aftermath — bedside light, whispered conversations, Jess’s voicemails unanswered. Used as connective tissue between scenes.
Why it matters: Another bespoke cut; lyric perspective (“what we leave”) dovetails with legacies the characters quietly build.

"Losing My Religion" — R.E.M.
Where it plays: Used diegetically (radio/venue) around a candid talk that turns awkward honesty into a pivot — Milly pushes people away; Jess reaches and misses.
Why it matters: The phrase “that’s me in the corner” mirrors a character stepping out of her own life and watching it happen.

"Leave It Alone" — Broken Bells
Where it plays: A city-at-night bridge between arguments — taxis, river, glass; the groove sits under a sequence where apologies don’t land yet.
Why it matters: Mood piece. The lyric’s resigned hook hardens the impasse.

"I Know What I Am" — Band of Skulls
Where it plays: Energetic bar/club backdrop with Milly masking fear as attitude; Jess follows, tired and wary. Mostly diegetic feel in-scene.
Why it matters: Loud self-definition as shield — perfect for a character sprinting from vulnerability.

"Almost Home" — Moby with Damien Jurado
Where it plays: Late-night exterior/interior intercutting: hospital corridor light, empty streets, two households out of sync. Non-diegetic.
Why it matters: The title telegraphs the act-three drift toward reconciliation — almost home, not yet.

"There’s a Place" — Tyson Ritter
Where it plays: Tied to Ritter’s on-screen character and later to end-stretch reflection; plays as a letter to the living. Non-diegetic spotlight near the film’s close and credits.
Why it matters: Written by the actor while filming, as a goodbye note “for Milly.” The meta-layer lands.

"Almost There" — Opus Orange feat. Lauren Hillman
Where it plays: Transition montage: hospital → home → river path; the song’s small lift suits everyday heroics.
Why it matters: One of the album’s sleepers; it humanizes the logistics of care.

"Hello Halo (Cooper Todd Remix)" — David Galafassi / Toni Collette / Nathan Cooper
Where it plays: Club environment with Milly leaning into music as anesthesia; Jess watches the performance face harden.
Why it matters: Performed by cast and collaborators; the most “inside the world” track on the album.

"When You Dream" — Sara Jackson-Holman
Where it plays: Quiet nursery/bedroom palpably close to the film’s turn — close focus on breath, hands, then a cut to paperwork and waiting rooms.
Why it matters: A small song used with restraint. It gives the score room to finish the thought.

"Better Together" — Hentai Superstar
Where it plays: Brief party/celebration sting, before the story yanks the rug.
Why it matters: Sugar that curdles — intentional tonal whiplash.

"Goodbye" — Harry Gregson-Williams (score)
Where it plays: Closing passage/credits, after the last hospital scene and rooftop memory. Strings carry the film out.
Why it matters: Gives the pop-heavy album a final, wordless summary.

Also in the film (not on every edition): “Been Caught Stealing” — Jane’s Addiction; “Get Amongst It” — Fjokra. Used for rowdy, impulsive beats around bad decisions.

Notes & Trivia

• Two new songs in the film — Paloma Faith’s “The Crazy Ones” and Labrinth’s “What We Leave Behind” — were written for the project by Diane Warren.
• Tyson Ritter (who also acts in the film) wrote and performs “There’s a Place,” released as a single tied directly to the movie.
• Toni Collette appears on the club cut “Hello Halo (Cooper Todd Remix)” with David Galafassi and Nathan Cooper.
• Retail vinyl editions present a 12-track A/B sequence; digital/CD include 13 tracks with the closing score cue “Goodbye.”
• Harry Gregson-Williams composed the score; the commercial album includes one cue to book-end the playlist.

Music–Story Links

Joan Jett’s title cut throws down the thesis upfront: love that anticipates absence. When Milly pivots into reckless mode, Band of Skulls and Jane’s Addiction underline bravado as a coping strategy. The mid-movie pop (Paloma Faith, Broken Bells) scores the friends’ drift — busy rhythms over fractured conversations.

As the story narrows — treatment, estrangement, hospice — the palette thins: Moby/Jurado and Opus Orange carry transitions with small, steady motions. Labrinth’s original turns the lens outward: what stays behind for family and friends. The final hand-off to score lets the film close without words.

Reception & Quotes

Reviews of the film were mixed-positive; the music package drew praise for balancing recognizable catalog with tailored originals. Several outlets flagged the Ritter single as an unexpected emotional anchor, and the Diane Warren contributions as smartly targeted to the film’s arc.

“A song album that actually reads the scenes — two bespoke cuts and one actor-written farewell keep it from feeling like wallpaper.”
— soundtrack column

“R.E.M. and Broken Bells frame London at night; the originals do the heavy lifting when the plot runs out of small talk.”
— capsule review

Interesting Facts

• The soundtrack was issued by Sony Classical — unusual branding for a mostly pop/indie compilation, but common for Sony’s film-music slate.
• “There’s a Place” reached Billboard’s Digital Rock Songs chart; Ritter wrote it on set as a farewell from Milly’s perspective.
• “Miss You Already” (Joan Jett) was promoted as the title cut in trailers/TV spots, even when the scene placements are brief.
• Vinyl pressings (limited color editions) surfaced with a gatefold and booklet; some retailers list slightly different running times due to metadata rounding.
• Gregson-Williams’s full score was not given a standalone commercial album; the compilation includes one cue.

Technical Info

• Title (album): Miss You Already (Original Motion Picture Soundtrack)
• Film: Miss You Already (2015, UK; dir. Catherine Hardwicke)
• Year: 2015 (digital: Sep 25; CD: Nov 6)
• Type: Various Artists (songs) + one score cue; separate unreleased full score by Harry Gregson-Williams (in film)
• Key artists: Joan Jett & the Blackhearts; Paloma Faith; Labrinth; R.E.M.; Broken Bells; Band of Skulls; Moby with Damien Jurado; Tyson Ritter; Opus Orange feat. Lauren Hillman; Sara Jackson-Holman; Hentai Superstar; Toni Collette with David Galafassi & Nathan Cooper
• Notable originals: “The Crazy Ones” (Paloma Faith) and “What We Leave Behind” (Labrinth) — both written for the film by Diane Warren; “There’s a Place” — Tyson Ritter (written during production)
• Label: Sony Classical (S Films (MYA) Ltd. under exclusive license)
• Availability: Digital/streaming; CD; limited LP pressings
• Composed score: Harry Gregson-Williams

Questions & Answers

Who composed the film’s original score?

Harry Gregson-Williams. The commercial album mainly features songs, with one closing score cue (“Goodbye”).

Which songs were written specifically for the movie?

Paloma Faith’s “The Crazy Ones” and Labrinth’s “What We Leave Behind” (by Diane Warren), plus Tyson Ritter’s “There’s a Place,” written on set.

Is the Joan Jett title track actually in the film?

Yes — it appears in the film and was used heavily in marketing, though its on-screen placement is brief.

Does the album match the movie exactly?

Mostly, but not entirely. A few film cues/sources don’t appear on every retail edition (e.g., certain bar tracks).

Where can I hear the songs?

Major platforms carry the album (Sony Classical). Vinyl pressings also exist from select retailers.

Canonical Entities & Relations

Subject	Relation	Object
Miss You Already (2015 film)	directed by	Catherine Hardwicke
Miss You Already (2015 film)	written by	Morwenna Banks
Miss You Already (2015 film)	music by (score)	Harry Gregson-Williams
Miss You Already (Original Motion Picture Soundtrack)	record label	Sony Classical
Joan Jett & the Blackhearts	perform	“Miss You Already”
Paloma Faith	performs	“The Crazy Ones” (written for film by Diane Warren)
Labrinth	performs	“What We Leave Behind” (written for film by Diane Warren)
Tyson Ritter	performs	“There’s a Place”
R.E.M.	perform	“Losing My Religion”
Moby with Damien Jurado	perform	“Almost Home”
Band of Skulls	perform	“I Know What I Am”
Broken Bells	perform	“Leave It Alone”
Sara Jackson-Holman	performs	“When You Dream”
Opus Orange feat. Lauren Hillman	perform	“Almost There”

Sources: Sony/label release (tracklist & credits); Apple Music/Spotify listings; Kinetophone press release; Wikipedia (film + song); retailer LP listing with sequencing; trailer (Movieclips Trailers).

The film is about how the two girls spend their whole lives together. And pass through the difficulties and happy moments also together. As they feel good together, and men take in their lives just bitty parts that are almost never mentioned on screen. This film will be another banner for the self-expression of those who does not accept the gender boundaries in relationships in particular and in life in general. If you have the best, a wonderful friend with whom you are more than inseparable – then this film will give you a reason to remember a lot of things that you have been through and when you were bad and good. And even if you were bad – it's just an excuse to look the full support from someone who knows you better than anyone else and listen to music, such a good, like, turned out from Paloma Faith with her The Crazy Ones . Or a reason once again to sing with your beloved REM with their Losing My Religion . And to not lose your religion or belief in own strengths, no matter what the circumstances, because the loss of faith is only for weak people, not like you. Dance under the Almost Home or enjoy any other of the 13 other songs presented in the collection. And you will realize that everything is relative. A good sound – no, it is absolute. Absolutely the same good as in this soundtrack. Enjoy!

November, 16th 2025

More about "Miss You Already": IMDb, Wikipedia

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