"Moms' Night Out" Soundtrack Lyrics

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"Moms’ Night Out (Original Motion Picture Score) & Songs" – Album Guide to Tracks and Key Scenes

Overview

What happens when a “quiet dinner” meets a bowling alley, a biker philosopher, and a missing-phone panic? Moms’ Night Out plays it as a sugar-rush farce scored like a relay: radio-friendly pop for energy, rootsy funk for swagger, and a compact orchestral score to hit punchlines and heart.

Arrival → adaptation → rebellion → collapse: the album arc mirrors the evening. Early cues and bright pop establish “we’ve earned this night.” Mid-film switches to propulsive grooves and needle-drops that chase mishaps across diners and alleys. The close softens to reflective singer-songwriter textures before a last, upbeat tag.

Styles map neatly to function. Upbeat alt-pop = momentum. Funk/gospel-leaning cuts = confidence spikes. Acoustic ballads = “call the sitter and breathe.” The original score (Marc & Steffan Fantini) handles timing and emotional guardrails between songs.

How It Was Made

Score by Marc Fantini & Steffan Fantini; the score album (Moms’ Night Out — Original Motion Picture Score) released September 12, 2014 by Madison Gate Records, 13 tracks/≈30 minutes. Song clearances mix chart acts (OneRepublic, American Authors, Ingrid Michaelson) with faith/indie artists (Lecrae, Mandi Mapes, Natalie Grant). According to industry coverage, the Fantinis recorded an orchestral-plus-rhythm palette to support the Erwin Brothers’ fast-cut comedy.

Tracks & Scenes

Scene notes reflect the wide-release cut; micro-timings vary by edition. Titles/credits verified against public cue lists; placements are described by on-screen context rather than exact timestamps.

"Everybody Loves Me" — OneRepublic
Where it plays: Early montage energy — moms in motion, phones buzzing, last-minute wardrobe fixes before the night starts. Non-diegetic, quick edits.
Why it matters: A confidence blast that sells “this will finally go right.”

"Best Day of My Life" — American Authors
Where it plays: Upbeat connective montage as plans lock in; street-level cuts and group texts flying. Non-diegetic.
Why it matters: The optimism anthem the film undercuts — and then earns back.

"The Way I Am" — Ingrid Michaelson
Where it plays: A quieter mid-evening beat — personal pep-talks and awkward truth-telling in the car and corridor spill-overs.
Why it matters: Small-scale sincerity to reset the frantic tempo.

"Dream" — Priscilla Ahn
Where it plays: Reflective interlude: Allyson recalibrates after another mishap; the city finally sounds quiet for a minute.
Why it matters: Air and space in a movie that mostly sprints.

"Ain’t Nothing Wrong with That" — Robert Randolph & the Family Band
Where it plays: Confidence walk-ups (lobby/parking-lot strut) and a comic gear-change into the next scheme.
Why it matters: Feel-good funk gives the ensemble a shared beat.

"Boom Boom" — Josh Mobley feat. Reina Williams
Where it plays: Trouble montage — chase-adjacent movement between locations; brief, percussive stings.
Why it matters: Adds grit so the comedy doesn’t float away.

"Walking on Water" — Lecrae
Where it plays: A faith-tinged resolve beat; the lyrics run under the cut as the moms try again instead of folding.
Why it matters: Thematically on-brand in a film built for churchgoing audiences.

"Cupid Shuffle" — Cupid
Where it plays: Family-friendly dance-floor gag that spirals; cutaways to side characters keep the joke alive.
Why it matters: Diegetic fun — the one everybody recognizes on first bar.

"Keep Breathing" — Ingrid Michaelson
Where it plays: Late low-point montage — apologies, voicemails, and the night’s consequences catching up.
Why it matters: Title says it: pause, breathe, proceed.

"Turn to Stone" — Ingrid Michaelson
Where it plays: Reconciliation visuals and the final pivot toward home; soft focus on faces instead of pratfalls.
Why it matters: Moves the film back to relationships, not logistics.

"Night of My Life" — Group 1 Crew
Where it plays: High-energy reset between crises — quick inserts that keep the comic rhythm bouncy.
Why it matters: Polished, positive pop that matches the tone.

"Hurricane" — Natalie Grant
Where it plays: Emotional crest near the finish, tying spiritual reassurance to the mess finally landing.
Why it matters: The “it’s going to be okay” cut.

"Rinse It" — R!OT (Michael Wyckoff)
Where it plays: Short electronic sting in a frantic transition; blink-and-you-miss-it club-leaning texture.
Why it matters: Modern pulse amid predominantly organic tracks.

Score moments — Marc & Steffan Fantini
"Mom Has a Moment" / "Meeting the Other Moms" — establishes Allyson’s anxious baseline, then the trio’s cadence (plucked strings, brushed kit).
"Kevin Is Babysitting?" — rapid-fire gag punctuation and domestic suspense.
"Y’all Come with Me" — Trace Adkins’ biker shepherds the chaos; guitars and low brass grin under the scene.
Why it matters: The score is the glue — timing the pratfalls so the songs can be set-pieces, not wallpaper.

Notes & Trivia

• The film credits list 15+ licensed songs; multiple cuts by Ingrid Michaelson appear across the night.
• The original score album runs 13 tracks (~30:00) on Madison Gate Records; digital storefronts carry it worldwide.
• R!OT’s “Rinse It” is a rare EDM needle-drop in an otherwise guitar-/piano-heavy selection.
• OneRepublic’s “Everybody Loves Me” and American Authors’ “Best Day of My Life” bookend the film’s optimism swing.
• The Fantinis’ scoring credit was announced pre-release; they recorded an orchestral-plus-rhythm palette to fit the family-comedy brief.

Music–Story Links

Pop anthems frame intent (“we deserve a night”). Funk and hip-hop pulses carry the chase logic without turning scenes into music videos. When the script slows down to breathe, singer-songwriter cuts (“Dream,” “Keep Breathing,” “Turn to Stone”) step in so apologies and grace notes can play honestly. The score connects these moods, resetting tempo between gag clusters.

Reception & Quotes

The movie divided critics; the music package reads cleaner — a “playlist film” that’s easy to spin outside the plot. The small score album became a useful reference for cue-timing craft in modern family comedies.

“Hooky, PG-safe, and cut for movement; the songs function as scene oil.”
— soundtrack note

“The Fantinis’ cues land the laughs — short, bright, precise.”
— film-music blurb

Interesting Facts

• Madison Gate Records (Sony Pictures) handled the score release; the film’s companies include TriStar/Affirm/Provident.
• “Best Day of My Life” was already a multi-format hit when the film opened, boosting recognizability in trailers and TV spots.
• Faith-market artists (Lecrae, Natalie Grant) sit alongside Hot AC staples — a deliberate audience bridge.
• The official promotional playlists bundled the film’s licensed songs even without a single “songs album” streeting.
• Trace Adkins’ scenes get the twangiest underscoring — a wink the score keeps subtle.

Technical Info

• Film: Moms’ Night Out (2014) — dir. The Erwin Brothers
• Score album: Moms’ Night Out (Original Motion Picture Score) — Marc & Steffan Fantini; Madison Gate Records; 13 tracks; ~30:00 (digital)
• Selected licensed songs: OneRepublic “Everybody Loves Me”; American Authors “Best Day of My Life”; Ingrid Michaelson “The Way I Am,” “Keep Breathing,” “Turn to Stone”; Priscilla Ahn “Dream”; Robert Randolph & the Family Band “Ain’t Nothing Wrong with That”; Lecrae “Walking on Water”; Cupid “Cupid Shuffle”; Natalie Grant “Hurricane”; Group 1 Crew “Night of My Life”; R!OT “Rinse It”
• Music supervision/label notes: Company credits list Madison Gate Records for soundtrack handling; additional promotional playlists by Provident Films.
• Availability: Score: Apple Music/Spotify; songs: streaming via original artist releases and official film playlists.

Questions & Answers

Is there a separate “songs” soundtrack?

No commercial VA songs CD was widely issued; the film uses licensed tracks. Official playlists mirror in-film cues.

Who composed the original score?

Marc Fantini & Steffan Fantini; the 13-track score album released digitally in 2014.

Which big radio hits are in the movie?

American Authors’ “Best Day of My Life” and OneRepublic’s “Everybody Loves Me,” alongside multiple Ingrid Michaelson cuts.

Where can I hear the score?

Streaming platforms (Apple Music, Spotify) carry the 2014 score album from Madison Gate Records.

Does the film use faith-market artists?

Yes — notably Lecrae (“Walking on Water”) and Natalie Grant (“Hurricane”).

Canonical Entities & Relations

Subject	Relation	Object	Notes
Marc Fantini	composed	Moms’ Night Out (score)	With Steffan Fantini
Steffan Fantini	composed	Moms’ Night Out (score)	With Marc Fantini
Madison Gate Records	released	Moms’ Night Out (Original Motion Picture Score)	Digital, 2014
OneRepublic	performed	“Everybody Loves Me”	Licensed track
American Authors	performed	“Best Day of My Life”	Licensed track
Ingrid Michaelson	performed	“The Way I Am”, “Keep Breathing”, “Turn to Stone”	Multiple placements
Lecrae	performed	“Walking on Water”	Licensed track
Natalie Grant	performed	“Hurricane”	Licensed track
Provident Films	curated	official songs playlist	Promotional

Sources: IMDb Soundtracks (title-by-title music credits); Wikipedia (music section with full list of licensed songs and composer credit); Apple Music/Spotify listings for the Fantini score (release date/label/track count); Filmmusicreporter (Fantinis scoring announcement); official trailer channel & uploads (figures); Provident Films’ public playlist (songs used).

Stunning comedy, which is really funny. If you think that this is not a big thing, do not hurry in your conclusions. Number of released truly funny comedies (and not a tragedies or tragicomedies), without templates and with a great music, in recent years, probably equals to zero. This is the only exception. The film does not change all along with light and lax entourage. It has excellent jokes, live characters and you never know what's waiting for you around the corner. Despite a modest $ 10.5 million of box office, it paid off twice. As a rule, the funniest movies are not those who have big budgets. But those who were filmed with a huge passion and love for art. Onerepublic right from the start sets a high pace of dance for the entire collection. Just a few compositions here are slow (Dream and Keep Breathing, for instance). We are fallen in love with the voice of Ingrid Michaelson after this collection. She has a fantastic one! On one hand, it seems as quiet. But! How many peacefulness, understanding and depth! This voice created several tunes from this collection. It suddenly crashed into the thickness of dance compositions only, bringing chafing contrast and comely spirituality to the entire collection. And now, sitting after listening of her, we remember not dance hits that are just as good (how bracing was Night Of My Life). But we remember languid and slow voice of Ingrid. And give praises to Lord, Krishna, Buddha, Zarathustra with Quetzalcoatl for such fantastic music in our world!

November, 16th 2025

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