"Office Christmas Party " Soundtrack Lyrics

---

“Office Christmas Party (Original Motion Picture Soundtrack)” – Album Guide to Tracks and Key Scenes

Overview

What makes a movie party feel like a party and not just props and confetti? Office Christmas Party answers with a turbo-charged jukebox: Southern crunk, indie-glam, dance-rap, blog-pop, brass-band marches, and a fistful of Christmas chestnuts flipped for maximum chaos. It’s the sound of a respectable tech office forgetting HR exists — musically and narratively — for one strange night.

The album leans hard into needle-drop momentum. Early cues are plot helpers — character walk-ups, invitations sent, lunch pitches — but once the lights dim, the soundtrack behaves like a DJ who knows the room: Deck Da Club kicks the doors, glossy pop (The Struts) and party rap (The Americanos with Lil Jon, Juicy J & Tyga) do the heavy lifting, and modern holiday staples (Kelly Clarkson) deliver the seasonal glitter without slowing the roll.

Meanwhile, Theodore Shapiro’s score (kept mostly off the commercial album) threads the sleight-of-hand bits — server hacks, car chases, “we may be fired tomorrow” panic — so the drops can stay shameless. The listening arc is simple and satisfying: arrival → adaptation → rebellion → collapse. Translation: carols and confidence → club beats and bravado → “we did WHAT?” → reflective glow as the sun rises on a very awkward tomorrow.

Genres & themes by phase: brass-band & traditional carols — surface civility; glam-rock & electro-pop — swagger; crunk/rap & EDM — rule-breaking and escalation; pop-holiday anthems — irony and afterglow.

How It Was Made

Composer: Theodore Shapiro, a Soderbergh-adjacent precisionist who keeps the farce nimble and the set pieces legible. His cues take the scaffolding; the songs take the spotlight.

Music supervision: credited to Jonathan Karp, whose brief here was clear: stitch office-party chaos with recognizable bangers and contemporary holiday cuts. The commercial album emphasizes licensed songs and curated interludes; several score moments stay in-film only.

Release: the official soundtrack issued the same week the film hit theaters, on Interscope — a 23-track, DJ-punctuated playlist built to mirror the party’s rising action (as noted by the label rollout and trade coverage).

Tracks & Scenes

“Deck Da Club” — Ying Yang Twins
Where it plays: Blasts over the studio logos and later when the office floor tips from “company mixer” to total rager — fog machines, copier-sledding, the works. ~Opening seconds; then mid-party hits. Non-diegetic.
Why it matters: Sets the dial to “unprofessional” before the plot can protest.

“Kiss This” — The Struts
Where it plays: Tracey zones out with headphones at her desk, glam-strut swagger underscoring her “I build things, don’t bug me” energy. ~6 minutes. Diegetic (on headphones).
Why it matters: Character color — confidence with eyeliner.

“Silent Night” — Dick Walter & KPM Brass Band
Where it plays: A buttoned-up lunch pitch to client Walter Davis gets the ironically prim treatment — brass band carol under brittle small talk. ~23 minutes. Non-diegetic.
Why it matters: Weaponized holiday cheer; culture fit on hold.

“Victorious” — Panic! At The Disco
Where it plays: Clay hammer-sends the party e-invites; the cut struts like a hype man. ~26 minutes. Non-diegetic.
Why it matters: Declares tone: zero chill, full send.

“Here Comes Santa Claus (Right Down Santa Claus Lane)” — Alex Aiono
Where it plays: Security chief Carla frisks guests at the door, candy-cane smile hiding a taser. ~27–29 minutes. Non-diegetic, comedic counterpoint.
Why it matters: Sweet veneer, chaotic core — the film in miniature.

“Tonight Is the Night” — Outasight
Where it plays: Josh steps into the party; the floor’s already shaking, HR long gone. ~31 minutes. Non-diegetic.
Why it matters: Classic “threshold” cue — the night just chose him.

“Fitzfunk Vox” — Mophonics
Where it plays: DJ Joel’s crate-digging interludes thread mini-montages of cubicle rebellion — conga lines by the servers, karaoke on conference phones. ~31–36 minutes. Diegetic (DJ set).
Why it matters: Greases scene transitions without killing the buzz.

“Put The Boogie In Your Body” — The Treacherous Three
Where it plays: Retro rap lands mid-party as copy paper snow falls and the CFO discovers a foam machine she should not have discovered. ~36 minutes. Diegetic (DJ set).
Why it matters: Old-school bounce, new-school disaster.

“Holiday” — Capital Cities
Where it plays: As Clay promises the staff a miracle and Josh scrambles to keep the client engaged, neon-washed optimism kicks in. Early-mid party. Non-diegetic.
Why it matters: Sell the fantasy first; worry about logistics later.

“Underneath the Tree” — Kelly Clarkson
Where it plays: The party breaks into full glossy-mall mode — snow cannons, group selfies, someone in a reindeer onesie. Mid-party montage. Non-diegetic.
Why it matters: A modern holiday standard that makes chaos feel festive instead of feral.

“Let Me Clear My Throat” — DJ Kool
Where it plays: The DJ whips the crowd into a call-and-response while HR hides behind a ficus. Late-party spike. Diegetic (on the floor).
Why it matters: Crowd control by horn riff — instant, sweaty unity.

“Make It Jingle” — Big Freedia
Where it plays: A twerk-y turn on the gift table escalates into full dance-off; the camera giggles and cuts faster. Late-party. Non-diegetic.
Why it matters: The movie’s id: louder, faster, merrier.

“BlackOut (feat. Lil Jon, Juicy J & Tyga)” — The Americanos
Where it plays: Powers a major party-to-mayhem montage and tags the end-credits energy — broken ice sculptures, blown circuits, zero regrets. Late film/credits. Non-diegetic.
Why it matters: Summative banger — the hangover can wait.

Notes & Trivia

• The commercial album foregrounds licensed songs and cheeky “DJ Calvis” bumpers; Shapiro’s score mostly remains in the film mix.
• “Underneath the Tree” was explicitly cleared and promoted as part of the film’s holiday identity.
• Music supervision is credited to Jonathan Karp; the blend favors recognizable chorus hooks over deep score cues.
• Release week timing meant the soundtrack dropped day-and-date with the film in many regions.
• Several needle drops heard at the party don’t appear exactly as mixed on the album — typical for dialogue-heavy comedy edits.

Music–Story Links

When Josh, Clay, and Tracey pitch Walter over lunch, that prim brass “Silent Night” underlines how far the office culture is from “fun.” Minutes later, “Victorious” scores those reckless e-invites — the soundtrack tipping from decorum to dare.

Once the party hits stride, diegetic DJ spins (Mophonics cues, old-school rap) keep momentum inside the world, while big non-diegetic drops (“Deck Da Club,” “BlackOut”) step outside to montage the madness. And when the film needs seasonal sparkle, Clarkson’s sugar-rush chorus snaps everything back into Christmas-movie mode.

Reception & Quotes

Critical response to the film was mixed, but the musical vibe earned nods for committing to the bit — a party movie that actually parties. The album, built for quick hits, plays like an office playlist gone rogue.

“Efficiently lewd and loud; the party lands more laughs than the plot does.” — trade review capsule

“Every second spent justifying the company is a second not invested in making this the funniest party it can be.” — Variety

“Too light to be truly raunchy, too raunchy to be sweet — but the bangers bang.” — festival-week roundup

Interesting Facts

• According to Film Music Reporter, the Interscope release was structured as a DJ-punctuated set — an unusual flourish for a major-studio comedy soundtrack.
• “BlackOut” (The Americanos with Lil Jon, Juicy J & Tyga) doubled as a promo cut in trailers/TV spots.
• Library-music ringers (KPM brass) sneak in early to lampoon “tasteful” corporate December.
• Kelly Clarkson’s “Underneath the Tree” placement helped the film feel seasonal without leaning solely on standards.
• IMDB’s song list shows a wide spread — from Treacherous Three to Big Freedia — matching the movie’s “everyone’s invited” chaos.

Technical Info

• Title: Office Christmas Party (Original Motion Picture Soundtrack)
• Year/Type: 2016; Film soundtrack (songs compilation with interludes)
• Composer: Theodore Shapiro (original score, mostly not on the album)
• Music Supervision: Jonathan Karp
• Label: Interscope Records (Compilation ℗ 2016)
• Selected placements (on screen): “Deck Da Club” — logos/party ignition; “Kiss This” — Tracey’s headphones; “Silent Night” (KPM Brass) — lunch pitch; “Victorious” — party e-invites; “Underneath the Tree” — party montage; “BlackOut” — late montage/end credits
• Availability: Streaming widely (album edition); physical listings documented by major retailers

Questions & Answers

Why doesn’t the album include much of the score?

The official release leans into licensed songs and DJ bumpers; Shapiro’s cues primarily live in-film.

What’s the big end-credits banger?

“BlackOut” by The Americanos featuring Lil Jon, Juicy J & Tyga — used heavily in the late montage and credits.

Which modern holiday song pops up at the party?

Kelly Clarkson’s “Underneath the Tree,” bringing glossy seasonal energy to the floor.

Who handled music supervision?

Jonathan Karp — the album’s eclectic, hook-forward approach reflects that brief.

Is there an official trailer tracklist?

Trailers mix several cues, but the feature’s album (Interscope, 2016) captures the core party palette.

Canonical Entities & Relations

Subject	Relation	Object
Office Christmas Party (film)	musicBy	Theodore Shapiro (original score)
Office Christmas Party (Original Motion Picture Soundtrack)	recordLabel	Interscope Records
Jonathan Karp	musicSupervisorOf	Office Christmas Party (2016)
Ying Yang Twins	performed	“Deck Da Club” (logos & party)
The Struts	performed	“Kiss This” (Tracey headphones)
Kelly Clarkson	performed	“Underneath the Tree” (party montage)
The Americanos feat. Lil Jon, Juicy J & Tyga	performed	“BlackOut” (late montage/credits)
Panic! At The Disco	performed	“Victorious” (e-invites send)

Sources: Film Music Reporter; Apple Music album page; Spotify album page; IMDb (film & soundtrack credits); Wikipedia (film credits & composer); Ringostrack; Soundtrakd scene guide.

Jason Bateman and Jennifer Aniston are the main stars in here. This is dazzling hilarious and absolutely not worthy of seeing unless if you are not an extreme fan of everything outstandingly stupid. The film is filled with solely dancing songs, from absolutely hard one like ‘Mutant Brain’ to even blunt thing like ‘Electrify’ by Oliver. Probably one of the biggest stars amongst songs in this collection are ‘Let's Get Ridiculous’ by Redfoo and ‘Let Me Clear My Throat’ by Dj Kool. It is the absolutely ready tracklist for any party of any degree – starting from a little get-closer thing in your house consisting of only several people, ending with so powerful and extremely dangerous party as depicted in this movie. But we are afraid that the currently existing three trailers collect every significant moment from this film. That is why we advise you to approach watching it with extreme precaution, as is it possible to be disappointed after the loud story of this movie ends and the bitter after party begins. It must be understood that the plot cannot evolve in this magnificent way for a long time and it should be stopped, prevented or killed by a person who doesn't want this whole thing to continue. Maybe this person will be Jennifer Aniston or maybe the voice of mind impersonated in Jason Bateman – we're not sure as we didn't see this movie yet. But what we are sure that Jason Bateman's best role was not in this movie. It was in Zootropolis where he voiced a cunning Fox. So, if you buy some miracle didn't read our explanations to the collection of the songs that we just gave you, be aware that the lyrics of every song will be directed only on dancing amusement and nothing more. So don't seek for anything particularly sophisticated in those lyrics. And don't say that we didn't warn you.

November, 18th 2025

More info on Wikipedia, IMDb, Official Website

---

A-Z Lyrics Universe

---