"Nobody 2" Soundtrack Lyrics

“Nobody 2 (Original Motion Picture Soundtrack)” – Album Guide to Tracks and Key Scenes

Overview

How do you score a dad’s vacation that keeps erupting into carnage? The sequel answers with a grin: classic pop bangers collide with punchy modern score, so every brawl lands like a punchline and a punch.

The album pairs Dominic Lewis’s compact, propulsive cues with needle-drops that swerve from sunshine pop to power ballad. Where the first film leaned on crate-digger cool, this one opts for audacity — Sinatra-era standards reimagined, 60s radio sweetness, 90s/00s hits, and a knowingly huge Céline Dion moment. The mood seesaws: breezy arrival → escalating hijinks → open rebellion → full collapse at the park.

Distinctive move: a crooner classic (“The Good Life”) re-sung with velvet restraint opens the door, then sharp, percussive cues (“Barber Elevator Fight,” “Duck Boat Fight”) do the heavy lifting. It’s mischievous by design: cheerful songs over savage set-pieces make the jokes darker and the hits brighter.

Genres & phases: vintage pop & lounge — false calm; hip-hop/alt-rock — swagger and denial; big-voiced ballad — operatic irony; tight action cues — speed and precision.

How It Was Made

Composer: Dominic Lewis. Label: Back Lot Music. Music supervisor: Rachel Levy. The official soundtrack album collects 22 tracks (score + two featured songs) and was released day-and-date with the film in August 2025. According to Film Music Reporter, the set includes José James’s new vocal of “The Good Life” and Des Rocs’ cover of “Ring of Fire,” alongside Lewis’s original score.

Director Timo Tjahjanto leans into whiplash contrasts: bright, familiar tunes against grimly funny violence. Metacritic’s credit roll also notes arranger/orchestrator Tommy Laurence on “The Good Life,” with a large L.A. session ensemble conducted by Vincent Oppido. The studio playlist (Back Lot) expands beyond the 22-track OST to include the prominent needle-drops used in the film.

Tracks & Scenes

“The Good Life (La Belle Vie)” — José James
Where it plays: opening titles/prologue as the vacation premise clicks into place. Velvet vocal over cool brass sets a suave, slightly sardonic tone. Non-diegetic.
Why it matters: frames Hutch’s “normal life” with too much elegance to last; the needle sets irony before the first crack.

“100% Feminista” — MC Carol
Where it plays: parking-garage melee with a Brazilian crew; engine noise, concrete echoes, fists, and swaggering beats. Non-diegetic, mixed hot against impacts.
Why it matters: announces the sequel’s louder, brasher palette; rhythm becomes bravado.

“Run Run Run” — Jo Jo Gunne
Where it plays: carnival interlude with the family — Skeeball, neon, motion blur — just before trouble boomerangs back. Mostly diegetic atmosphere leaking from speakers.
Why it matters: classic-rock buoyancy as misdirection; the chorus underlines Hutch’s flight-vs-fight spiral.

“More Today Than Yesterday” — Spiral Starecase
Where it plays: a bright, romantic sweep over travel/park passages and again as a counterpoint during mounting chaos near the finale. Non-diegetic; used more than once.
Why it matters: the sunniest hook in the movie; sweetness against violence = the sequel’s sense of humor.

“Tres Delinquentes (Radio)” — Delinquent Habits
Where it plays: arrival at Plummerville / hotel settle-in; swaggering bounce while the family clocks the place. Non-diegetic groove over establishing shots.
Why it matters: flips the environment from wholesome to suspect with a single beat choice.

“Summer Holiday” — Cliff Richard & The Shadows
Where it plays: Hutch’s nostalgic lull at a food stand before the cops complicate things. Diegetic radio vibe that reads as memory bleed.
Why it matters: innocence as bait; sets up the tonal whiplash that follows.

“Power (feat. Stormzy)” — Little Mix
Where it plays: arcade flex with the kids — quick-cut taunts and ticket showers. Non-diegetic, synced to edits.
Why it matters: amps the teens’ POV and gives the film its most TikTok-ready burst.

“If I Ruled the World” — Tony Bennett
Where it plays: warehouse incursion — easy big-band brass over methodical takedowns. Non-diegetic, deliberately perverse pairing.
Why it matters: turns domination into deadpan comedy — a Hutch specialty.

“Ring of Fire” — Des Rocs
Where it plays: waterpark climax, flames and foam colliding with surf-guitar menace. Non-diegetic; guitars chew scenery while stunts escalate.
Why it matters: a cover with teeth — familiar melody, new snarl.

“The Power of Love” — Céline Dion
Where it plays: late-fight coup de grâce beats, including a gag with a very pointy payoff. Non-diegetic; power-ballad soar over slow-motion punctuation.
Why it matters: the movie’s biggest comic swing — sincerity weaponized.

Score standouts — Dominic Lewis
“Barber Elevator Fight,” “Straight Forward Snatch,” “Duck Boat Fight,” “Warehouse Rescue,” “Waterpark Montage.”
Where they play: compact action modules tied to specific gags (elevator, snatch-and-grab, paddle-wheel chase, infiltration, finale build).
Why they matter: short cues with crisp motifs — built for rhythmic cutting and punchline timing.

Trailer note (not OST): the studio trailers cut with editorial hits and snippets; no commercial track is credited on the official upload.

Notes & Trivia

• Back Lot Music issued the OST the day the film opened; 22 tracks, ~40 minutes, dominated by tight action cues.
• Dominic Lewis replaces the first film’s composer (David Buckley) and pushes harder into comic counterpoint.
• Arranger/orchestrator Tommy Laurence is credited on “The Good Life”; Vincent Oppido conducted the sessions.
• The studio’s “Official Playlist” includes licensed songs not on the 22-track OST.
• Music supervision by Rachel Levy — a frequent Universal collaborator.

Music–Story Links

When Hutch plays family man, “More Today Than Yesterday” paints the picture brighter than reality — that gap is the joke. In the garage brawl, “100% Feminista” turns grit into swagger, so every block feels danced. During the warehouse run, Bennett’s “If I Ruled the World” crowns a blue-collar king for 90 seconds — pure deadpan. And when the finale needs one ridiculous, glorious push, “The Power of Love” lifts the punchline like a cherry picker.

Reception & Quotes

Response was broadly positive on the music choices: critics noted the escalation of “joyful brutality” scored with pop bravado, and fans singled out the Dion and Spiral Starecase drops.

“A more absurd, blood-soaked vacation movie… the soundtrack juxtapositions sell the joke.” — Associated Press

“Assured, unapologetic action — and the music keeps it breezy between beatdowns.” — Times of India

“Excellent use of ‘The Power of Love.’” — r/movies (fan thread)

Interesting Facts

• Two featured vocals on the OST: José James (“The Good Life”) and Des Rocs (“Ring of Fire”).
• “The Good Life” opens the film — a suave reset before everything breaks.
• The studio playlist adds legacy cuts (“More Today Than Yesterday,” “Run Run Run,” “Power,” etc.) not on the 22-track album.
• Back Lot released an “Official Playlist” alongside the OST to surface the licensed songs.
• The film hit digital 18 days after theatrical, boosting soundtrack streams quickly.
• Lewis’s cue titles (“Duck Boat Fight,” “Waterpark Montage”) map directly to set-pieces — handy for scene spotting.

Technical Info

• Title: Nobody 2 (Original Motion Picture Soundtrack)
• Year / Type: 2025 — Film score + featured songs
• Composer: Dominic Lewis
• Featured vocals: José James (“The Good Life”); Des Rocs (“Ring of Fire”)
• Music supervisor: Rachel Levy
• Label: Back Lot Music (digital release Aug 15, 2025)
• Selected placements: “100% Feminista” (garage fight); “Run Run Run” (carnival); “More Today Than Yesterday” (travel/finale counterpoint); “The Power of Love” (late-fight gag); “If I Ruled the World” (warehouse)
• Release context: Theatrical Aug 15, 2025; digital release followed in early September; Peacock streaming in mid-November (regional windows vary).
• Availability: OST (22 tracks) on major services; extended official playlist (licensed songs) maintained by Back Lot.

Questions & Answers

Who composed the sequel’s score?

Dominic Lewis; his 22-track OST was issued by Back Lot Music the day the film opened.

What’s the crooner track in the opening?

“The Good Life,” newly sung by José James; it sets an elegant, ironic frame before the first blow lands.

Which big needle-drop got the loudest laugh?

Céline Dion’s “The Power of Love” over a late-fight payoff — unabashed, perfectly timed.

Is every song on the OST?

No. The 22-track album is mostly score + two features. Other licensed songs live on the studio’s “Official Playlist.”

Who supervised the needle-drops?

Rachel Levy oversaw music supervision; the credits also list arranger Tommy Laurence on “The Good Life.”

Canonical Entities & Relations

Sources: Film Music Reporter; Apple Music listing; Spotify listing; Metacritic credits; IMDb title/soundtrack pages; Back Lot Music official playlist; People (trailer launch); GamesRadar+ (digital/Peacock windows); NME (song list); ScreenRant (scene-by-scene guide).

November, 17th 2025