"Neighbors" Soundtrack Lyrics

"Neighbors (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

Can a frat-house party playlist double as a marriage stress test? Neighbors answers with wall-to-wall bangers that usher you from arrival to chaos—and back again.

The film’s songs do the heavy lifting: early meet-cute diplomacy is swaggered in by Ini Kamoze; mid-film escalation rides EDM drops and rap hooks; the finale stitches Missy Elliott with The Black Keys into a giddy, weaponized mash-up. Michael Andrews’ score quietly fills the cracks—domestic beats, sly stingers—while the licensed tracks shout the movie’s joke-then-jab rhythm.

Functionally, the soundtrack is a pressure gauge. Each cue maps to an “up the ante” prank or a moment of parental backsliding. The frat’s identity blasts through party anthems; the couple’s anxieties surface in needle-drops that flaunt impulse over responsibility.

Genres & themes in phases: golden-age hip-hop and 2000s pop (swagger, social dominance) → big-room EDM (momentum, one-upmanship) → garage/alt-rock grit (fallout, rivalry costs) → end-credits Southern bounce (relief, détente).

How It Was Made

Composer Michael Andrews (score) supports the comedy’s timing with lean textures and sly motifs. The songs album was compiled by music supervisors Manish Raval and Tom Wolfe and released digitally by Atlantic Records on April 29, 2014 in the U.S. (UK as Bad Neighbours shortly after). One centerpiece is a bespoke mash-up, “Get Ur Freak On / Keep Me,” merging Missy Elliott with The Black Keys. According to Atlantic’s announcement, the set also premiered a new Flo Rida cut (“Freaking Out”).

Tracks & Scenes

“Here Comes the Hotstepper (Heartical Remix)” — Ini Kamoze
Where it plays: Mac and Kelly walk over to greet Delta Psi. Warm daylight, stroller in tow; the track’s strut sells their “we’re cool” face. ~early.
Why it matters: Establishes tone—performative chill before the war.

“Girls Girls $” — Theophilus London
Where it plays: The Radners ask for quiet as the first late-night blowout thumps inside. Bass leaks through wood and drywall.
Why it matters: Soundscape says “territory claimed” before any lines of dialogue resolve.

“I Wanna See You Move It” — Kustoo & Young Mozart
Where it plays: After Teddy invites them in, the camera swirls through neon haze and pledges. Diegetic PA feed.
Why it matters: The couple’s seduction by party energy begins.

“Drunk Tonight” — Goodfellaz
Where it plays: Teddy shows Mac his room—fireworks stash, breaker box, secrets—low light, bromantic banter.
Why it matters: Seeds the finale’s visual gags; music softens rival-to-friend pivot.

“Fuck Your Shit Up” — Jumbo Shrimp (from Get Him to the Greek)
Where it plays: Next night, the frat goes again; Mac calls, Teddy doesn’t answer. ~00:22.
Why it matters: Needle-drop becomes the throttle for escalation.

“Love Is On the Line” — Goodfellaz
Where it plays: The couple finally calls the cops; porch lights, sirens, and a guilty glance. ~00:23.
Why it matters: Irony—the title scores a betrayal of the truce.

“Let’s Go” — Trick Daddy feat. Big D & Twista
Where it plays: Morning after; the frat trashes the Radners’ front yard in broad daylight. ~00:25.
Why it matters: Hard-edged riff frames the prank-war’s first clear win for the frat.

“All Night” — Icona Pop
Where it plays: Pool party montage; inflatable chaos, sun glare, keg dives.
Why it matters: Airy chant doubles as peer-pressure chorus—don’t go home.

“First Name Trouble (feat. Marz)” — Witchman
Where it plays: Jimmy, Kelly, and Paula stride into the party, eyes on the upstairs landing.
Why it matters: Title’s a wink: trouble enters.

“Freaking Out” — Flo Rida
Where it plays: Dance-off section; Teddy clocks Pete slipping away with his girlfriend.
Why it matters: New cut amps insecurity; momentum over meaning.

“London Bridge” — Fergie
Where it plays: Kelly turns chaos agent—spiked kiss gag escalates into crowd mayhem.
Why it matters: Pure attitude; her agency pushes the plot, not just Mac’s antics.

“Raise Those Hands” — R3hab & Bassjackers
Where it plays: Teddy staggers down the corridor after seeing the betrayal; strobes stretch time.
Why it matters: Drop mirrors his plunge from king to crisis.

“Let It Go (Laidback Luke Remix)” — Dragonette
Where it plays: Pete and Brooke’s upstairs hookup—quick cuts, muffled thump through walls.
Why it matters: The remix’s title lands like a dare Teddy can’t accept.

“Die Young” — Ke$ha
Where it plays: After the Pete–Teddy fight, Mac & Kelly celebrate their plan working; shots, stumble home. ~00:44.
Why it matters: Ironic YOLO anthem for two exhausted new parents.

“Get Ur Freak On / Keep Me” — Missy Elliott & The Black Keys
Where it plays: Legendary end-of-year bash; opener is Missy (~01:10), cross-faded into The Black Keys (~01:11). Later, Teddy discovers the neighbors’ sting.
Why it matters: Sonic collision = story collision; the mash-up is the movie’s signature gag, musically.

“Protospasm/Protoplasm” — Davey Badiuk
Where it plays: The ruse blows up; hosts expel the crowd. ~01:14.
Why it matters: A clangy comedown; euphoria curdles into panic.

“B-Boy” — The Gang
Where it plays: Late-party cut during the final blowout. ~01:15.
Why it matters: Keeps floor energy up while narrative stakes flip.

“Messages (feat. Simon Lord)” — Dillon Francis
Where it plays: Mac lights fireworks to kick off the last push; night sky blooms.
Why it matters: Beat grid times visual gags; music cues cut points.

“Cheap Beer” — FIDLAR
Where it plays: Late escalation montage. ~01:24.
Why it matters: Sneer and shout—garage bite before authority arrives.

“Hurt Me Tomorrow” — K’naan
Where it plays: Police shut the party down; the frat’s future on the line.
Why it matters: The lyric frame shifts to consequences.

“Good Day” — Nappy Roots
Where it plays: End credits—sunny bounce, debris underfoot, détente achieved.
Why it matters: Relief valve; the neighborhood survives.

Trailer cue note: the marketing prominently used Trick Daddy’s “Let’s Go,” fitting the film’s riff-driven, chest-thump identity; other trailers leaned on library/action cues.

Notes & Trivia

• In some regions the film and album carry the title Bad Neighbours.
• The songs album hit digital stores before the U.S. theatrical release.
• Missy Elliott’s classic was officially mashed with The Black Keys specifically for this soundtrack.
• Composer Michael Andrews keeps the score minimal to leave air for comedy timing and song energy.
• Music supervision paired peak-frat anthems with ironic “adult” moments (e.g., baby monitor scenes vs. club drops).

Music–Story Links

“Hotstepper” announces the Radners’ performative friendliness; their pact is doomed by the next track’s volume spike. “Let’s Go” underlines the first clean counterattack after the police incident—its riff stands in for the frat’s collective chest. When Teddy falls from grace, “Raise Those Hands” and the Let It Go remix soundtrack his denial loop. The end-of-year bash begins with Missy’s rallying cry, then subverts prestige via gritty Akron blues; that hard cut is the narrative cutting the frat myth in half.

Reception & Quotes

Critical response to the movie was broadly positive; the song set was routinely cited for pace and punch. The album remains available on major platforms, with regional title variations.

“Seems new and fresh and different; it’s edgy without being offensive.” — The Playlist

“You will laugh … there is a steady stream of inducements to at least chuckle.” — RogerEbert.com

“Retains sufficient spontaneity to give it a fresh, lively feel.” — ReelViews

“Zac Efron gives one of his most credible and intriguing performances.” — Variety

Interesting Facts

• The U.S. album is titled Neighbors; the NZ/UK store variant appears as Bad Neighbours.
• “Freaking Out” was a new Flo Rida track for the album, not a catalogue pull.
• The trailer’s signature guitar riff is Trick Daddy’s “Let’s Go,” not a score cue.
• Apple and Spotify listings fix the canonical 12-track running order; cue placements in the film include additional songs.
• Missy/Black Keys mash-up opens the “legendary” party on screen; the album mirrors that sequencing.
• Composer credit on the film: Michael Andrews; the songs album is various artists.
• Festival context: world premiere at SXSW (March 8, 2014); album dropped ahead of the May 9 U.S. release.

Technical Info

• Title: Neighbors (Original Motion Picture Soundtrack) / Bad Neighbours (regional)
• Year: 2014
• Type: Film Soundtrack (songs); original score by Michael Andrews
• Composers: Michael Andrews (score)
• Music Supervision: Manish Raval; Tom Wolfe
• Label: Atlantic Records (U.S. digital); also associated with Back Lot for the film’s soundtrack branding
• Release Context: Album digital release April 29, 2014 (U.S.); film premiered March 8, 2014 (SXSW), U.S. theatrical May 9, 2014
• Selected Notable Placements: “Get Ur Freak On / Keep Me” (end-year party); “Die Young” (post-fight celebration); “Let’s Go” (yard retaliation); “Good Day” (end credits)
• Availability: Apple Music, Spotify; regional title variations present

Questions & Answers

Who composed the film’s score?

Michael Andrews wrote the original score; the album itself is a various-artists songs compilation.

Who supervised the soundtrack?

Manish Raval and Tom Wolfe compiled and supervised the songs set used in the film and album.

Was the Missy Elliott/Black Keys track a standard release?

No. The mash-up “Get Ur Freak On / Keep Me” was created specifically to headline the film’s party sequence and the album.

Is there a separate, commercial score album?

No widely distributed score-only album is listed; the official release is the songs compilation.

What music is in the trailers?

Marketing prominently used Trick Daddy’s “Let’s Go” (among others), aligning promos with the movie’s riff-forward prank energy.

Canonical Entities & Relations

Sources: Atlantic Records announcement; Apple Music album page; Spotify album page; WhatSong scene log; Variety review; RogerEbert.com review; ReelViews review; MarketScreener release; Reservoir Media news item; Wikipedia entry (film & soundtrack details).

November, 17th 2025