"Noah's Arc: Jumping the Broom" Soundtrack Lyrics

“Noah’s Arc: Jumping the Broom (Original Motion Picture Soundtrack)” – Album Guide to Tracks and Key Scenes

Overview

How do you soundtrack a wedding weekend where joy keeps colliding with unfinished business? The film answers with a DJ’s crate of R&B, dance-pop, and soft-soul threaded through tender, sometimes messy, conversations.

The album functions as mood architecture: club-forward bangers set up bachelor/bachelorette energy; mid-tempo grooves ease into confession; ballads carry late-night reckonings and morning-after grace. It’s less about leitmotifs than social temperature — who’s in the room, what they’re avoiding, and when the truth finally lands.

Distinctives: a label-branded compilation (Tommy Boy/Silver Label) that mingles marquee names (Michelle Williams, Solange, Bob Sinclar) with indie cuts (Matt Alber, Fol Chen) and songs by the writer-director himself (Patrik-Ian Polk). That mix mirrors the film’s tone — glossy on the surface, vulnerable underneath.

Genres & themes by phase: arrival (sleek dance-pop — bravado), parties (club/electro — denial), fights (neo-soul & adult-contemporary — candor), vows/closure (soft rock & torch — acceptance).

How It Was Made

Score by Adam S. Goldman and Julian Wass; needle-drops overseen by music supervisors Barry Cole and Patrik-Ian Polk. Editorial rhythm comes via Phillip J. Bartell’s cutting; songs carry transitions and reaction shots as much as dialogue.

The official soundtrack dropped October 21, 2008 on Tommy Boy (Silver Label) as a various-artists set. According to Variety’s review credits, Goldman and Wass handled original music while Cole and Polk shaped the source selections; album availability and date align with Apple Music’s listing.

Tracks & Scenes

“Today Tomorrow” — Tje Austin
Where it plays: bedroom scene with Noah and Wade during a quiet reconnection; intimate, warm mix. Non-diegetic but mixed close to dialogue.
Why it matters: the lyric tilts the conversation toward future-tense promises; it softens defenses without ending the argument.

“We Break the Dawn (Karmatronic Remix)” — Michelle Williams
Where it plays: party montage energy — the weekend hits cruising speed; used to punch movement between rooms and reactions.
Why it matters: reset button after friction; the beat lets characters postpone hard talks for one more dance.

“World, Hold On (Children of the Sky)” — Bob Sinclar feat. Steve Edwards
Where it plays: dance-floor release during the house party; wide shots, crossfades, friends hyping each other.
Why it matters: pure communal lift — it turns the ensemble into one crowd before splintering again.

“Something Real” — Phoebe Snow
Where it plays: late-night drift as tempers cool; Snow’s contralto floats over a quiet house.
Why it matters: grown-folk ballast — a plea for sincerity that frames the next morning’s choices.

“Come Clean” — Phoebe Snow
Where it plays: reflective interlude around a confession; cutaways to different rooms.
Why it matters: does what the title says — pushes a character to say the thing they’ve been dodging.

“End of the World” — Matt Alber
Where it plays: a contemplative beat after an emotional rupture — quiet faces, low light.
Why it matters: grief, but not despair; it marks the point where an apology becomes possible.

“Sandcastle Disco (Karmatronic Remix)” — Solange
Where it plays: pre-party prep and quick cuts between friend groups getting dressed; mirrors playful banter.
Why it matters: candy coating on fragile plans — title as thesis: temporary structures need care.

“Spies” — Sy Smith
Where it plays: side-eyed glances and whispered asides during a get-together; it sits slyly under dialogue.

Trailer/marketing note: campaign spots and fan-circulated clips often lean on the high-energy dance cuts above even when the exact film mix is quieter in places.

Notes & Trivia

• Composer credit in reviews names Adam S. Goldman with additional music by Julian Wass.
• Two roles for Phoebe Snow: cameo as herself in the film; two appearances on the OST.
• Soundtrack label is Silver Label/Tommy Boy; digital and CD releases circulated in late 2008.
• Music supervision is split: veteran supervisor Barry Cole with filmmaker Patrik-Ian Polk.
• The compilation bridges mainstream club tracks and indie singer-songwriters — unusual for a single-studio romance of the era.

Music–Story Links

When the house turns into a club, “We Break the Dawn” and “World, Hold On” mask cracks with bass — avoidance in 4/4. After arguments, “End of the World” and “Something Real” slow the pulse so characters can finally listen. And in the most intimate beat, “Today Tomorrow” doesn’t resolve conflict; it reframes it as a shared plan.

Reception & Quotes

Critics were mixed on the film but consistently clocked the pop-leaning music footprint. The album itself reads like a time-capsule of late-2000s club-soul.

“Pop gloss over sitcom turns; the music keeps scenes buoyant.” Variety

“A sincere, fan-forward coda with wall-to-wall tunes.” The Hollywood Reporter

As per AllMusic’s entry, the OST surfaced October 21, 2008 with 15 tracks; Apple Music lists it under Tommy Boy’s Silver Label.

Interesting Facts

• Michelle Williams’ single “We Break the Dawn” arrives here in a club-leaning Karmatronic remix.
• Solange’s “Sandcastle Disco” appears as a long remix cut — useful for montage coverage.
• Matt Alber’s “End of the World” became a queer-scene favorite independent of the film.
• Discogs credits show a spread of producers across the compilation; not a single-composer album.
• Release timing: soundtrack streeted days before the limited theatrical opening.

Technical Info

• Title: Noah’s Arc: Jumping the Broom (Original Motion Picture Soundtrack)
• Year/Type: 2008 — Film soundtrack (various artists; original score elements by Adam S. Goldman/Julian Wass)
• Music Supervision: Barry Cole; Patrik-Ian Polk
• Label: Silver Label / Tommy Boy
• Official release date: October 21, 2008
• Notable placements (film): “Today Tomorrow” (bedroom scene); dance-floor cues built around “We Break the Dawn” and “World, Hold On”; reflective cues from Phoebe Snow and Matt Alber in late-night beats
• Availability: Digital streaming/download; CD issues in market (region dependent)
• Film context: Feature based on Logo’s series; limited release October 24, 2008

Questions & Answers

Who composed the original score cues?

Adam S. Goldman with additional music by Julian Wass; the album itself is largely a curated songs compilation.

Who supervised the needle-drops?

Barry Cole and Patrik-Ian Polk coordinated the licensed tracks in tandem with editorial.

Is the soundtrack on streaming platforms?

Yes — the 15-track album is listed under Tommy Boy’s Silver Label on major services.

Which scene uses “Today Tomorrow” by Tje Austin?

The bedroom scene between Noah and Wade — an intimate reconciliation beat.

Does Phoebe Snow appear on screen or just on the album?

Both — she cameos as herself in the film, and two of her songs appear on the OST.

Canonical Entities & Relations

Sources: Variety review credit slate; The Hollywood Reporter review; Apple Music listing; AllMusic entry; Discogs release pages; SoundtrackCollector index; Wikipedia (film and soundtrack pages); IMDb (title and soundtrack notes).

November, 17th 2025