"Poms" Soundtrack Lyrics

“Poms (Original Score & Songs from the Motion Picture)” – Album Guide to Tracks and Key Scenes

Overview

What does a late-in-life “bring it on” look and sound like when the pom-poms are held by retirees? Poms answers with warmth-over-snark: needle-drops that swing from classic soul and country-rock to glossy pop, and a supportive, melodic score that gives the team room to breathe instead of winking at them.

The film follows Martha (Diane Keaton), who moves into a Georgia retirement community and, with neighbor Sheryl (Jacki Weaver), forms a cheerleading squad that refuses to apologize for taking up space. The soundtrack mixes crate-digger staples (Brenton Wood’s “The Oogum Boogum Song,” Miriam Makeba’s “Pata Pata,” Julie London’s “Sway”), radio evergreens (Diana Ross’s “I’m Coming Out,” Chaka Khan’s “I’m Every Woman”), modern crowd-igniters (Portugal. The Man’s “Feel It Still,” Galantis’s “Peanut Butter Jelly”) and more — while composer Deborah Lurie threads gentle, character-first cues between rehearsals and reveals.

Distinctiveness lies in tone: the picks lean celebratory, not ironic, letting older bodies move without the soundtrack undercutting them. According to the film’s credits and coverage, the score is by Deborah Lurie; music supervision was handled by Willa Yudell, with additional music by Benjamin Zecker. The movie did not receive a standalone commercial score album; the songs are sourced across labels and eras.

Genres & themes in phases. 60s/70s soul & oldies — joy, flirt, camaraderie. 80s/90s diva pop — self-assertion. Contemporary dance-pop — competition energy. Light dramatic score — friendship, fear, resolve.

How It Was Made

Score & palette. Director Zara Hayes tapped Deborah Lurie to write a supportive orchestral/synth-light score, shaping cues around rehearsal progress and Martha’s health arc. The music plays “coach,” not commentator — short cues under dialogue, gentle montages, a warmer harmonic bed for the finale.

Needle-drops & supervision. A broad catalog of licensed tracks spot-colors key beats: nostalgia at Sun Springs mixers, pep-rally cutdowns, and the final routine. Willa Yudell served as music supervisor (with Benjamin Zecker credited for additional music), mapping era-spanning songs to scene function rather than mere recognition.

Tracks & Scenes

“Bitter With the Sweet” — Carole King
Where it plays: Early in Martha’s settling-in stretch, framing her dry humor against Sun Springs’ forced cheeriness.
Why it matters: The lyric mirrors the movie’s thesis: make room for joy without denying reality.

“The Oogum Boogum Song” — Brenton Wood
Where it plays: Neighborly mixer / parking-lot mischief; a breezy pulse behind Sheryl’s instigating charm.
Why it matters: Signals the film’s preference for playful oldies over sarcastic needle-drops.

“Pata Pata” — Miriam Makeba
Where it plays: Practice montage as the squad loosens up; hips finally move in sync.
Why it matters: A global classic that turns tentative steps into communal rhythm.

“Sway” — Julie London
Where it plays: Light-footed practice beat / hallway glide; diegetic-feeling lounge ambiance.
Why it matters: Lets the film flirt for a second — elegance amid aching knees.

“I’m Coming Out” — Diana Ross
Where it plays: Wardrobe try-on gags and a confidence bump before facing skeptics.
Why it matters: Clear, joyful self-declaration for a team stepping into the light.

“I’m Every Woman (Live)” — Chaka Khan
Where it plays: Bus ride hype en route to their big outing; laughter over nerves.
Why it matters: Hands the mic to the film’s ensemble spirit.

“Queen of Hearts” — Juice Newton
Where it plays: Parking-lot practice cutaway; two-step timing drill with smiles.
Why it matters: Country-pop bounce makes repetition feel like fun.

“Feel It Still” — Portugal. The Man
Where it plays: Viral-video aftermath montage as the squad’s clip circulates.
Why it matters: Modern pop sheen to mark the story entering public space.

“Peanut Butter Jelly” — Galantis
Where it plays: Final cheer-competition routine. The squad’s crowd-pleaser drop and chant — big grins, bigger ovation.
Why it matters: A deliberately buoyant, silly-fun banger — exactly the right kind of swagger for their capstone.

“The Clapping Song (Clap Pat Clap Slap)” — Shirley Ellis
Where it plays: Timing/coordination mini-montage; hands learn patterns before feet do.
Why it matters: Bridges generational memory (a 60s hit) with muscle memory.

Score cues — Deborah Lurie
Where it plays: Martha’s private scenes (post-diagnosis, pre-finale pep talk), quiet night exteriors, and the last beat before the curtain routine.
Why it matters: Keeps the film sincere; the music refuses to mock.

Notes & Trivia

• Composer Deborah Lurie scored the film; trade coverage flagged her involvement ahead of release.
• Music supervision is credited to Willa Yudell; composer Benjamin Zecker received an “additional music” credit.
• No commercial score album was issued; the song lineup spans multiple labels and eras.
• Galantis’s “Peanut Butter Jelly” — a 2015 hit — powers the climactic routine, on-brand with the movie’s go-big finish.
• Catalog picks like “Pata Pata,” “The Oogum Boogum Song,” and “Sway” do a lot of world-building heavy lifting.

Music–Story Links

When Martha and Sheryl pitch the club, the film leans on breezy oldies to disarm the room; when the squad claims its identity, diva anthems show up — Ross and Khan don’t whisper. “Feel It Still” marks the viral moment, tipping the story from private to public, and “Peanut Butter Jelly” delivers the victory-through-joy finale. Between the bops, Lurie’s cues track Martha’s fear and resolve — the film’s heart that no needle-drop can carry alone.

Reception & Quotes

Reviews were mixed-to-negative on the film, but audiences turned out for the cast and the feel-good spirit. The music choices earned nods for keeping things buoyant without condescension. As per major outlets, the film’s intent sometimes outran its craft; the soundtrack kept morale high.

“A retirement community cheerleading squad… a delivery system for some vague message about empowerment and sisterhood.” — RogerEbert.com

“While the cast is something to cheer about, Poms squanders its talented stars on a clichéd comedy.” — Rotten Tomatoes consensus

“Isn’t a film that demands attention — a shame given the breadth of seasoned talent involved.” — Variety

Interesting Facts

• Finale pick: “Peanut Butter Jelly” (Galantis) was specifically noted in soundtrack roundups as the competition cue.
• Old-school glue: Shirley Ellis’s “The Clapping Song” doubles as rhythm training — perfect for choreography drills.
• Catalog depth: Brenton Wood, Julie London, and Miriam Makeba lend range well beyond the usual “greatest-hits” pool.
• No OST release: Unlike many 2019 comedies, Poms never saw a dedicated score album.
• Viral beat: The film leans on a modern pop cut (“Feel It Still”) to mark its in-universe social-media turn.

Technical Info

• Title: Poms
• Year: 2019
• Type: Film — songs + original score (no standalone score album)
• Composer: Deborah Lurie
• Music Supervision: Willa Yudell (additional music: Benjamin Zecker)
• Notable placements: Carole King — “Bitter With the Sweet”; Miriam Makeba — “Pata Pata”; Brenton Wood — “The Oogum Boogum Song”; Julie London — “Sway”; Diana Ross — “I’m Coming Out”; Chaka Khan — “I’m Every Woman”; Portugal. The Man — “Feel It Still”; Galantis — “Peanut Butter Jelly” (final routine)
• Label/Album status: Songs appear on their home labels; no official Poms soundtrack album.
• Distributor: STX Entertainment
• Running time: 90 minutes (feature)

Questions & Answers

Who composed the score?

Deborah Lurie.

Is there an official soundtrack album?

No dedicated score album; the film licenses songs from many labels and eras.

What song plays during the final routine?

“Peanut Butter Jelly” by Galantis.

Who handled music supervision?

Willa Yudell served as music supervisor; Benjamin Zecker contributed additional music.

What’s the general sound of the film?

Oldies & soul for charm, diva pop for confidence, 2010s dance-pop for competition energy, with a gentle orchestral score under the character beats.

Canonical Entities & Relations

Sources: Wikipedia film entry; FilmMusicReporter scoring note; soundtrack aggregators (MoviesOST listings); Rotten Tomatoes/Variety/RogerEbert.com reviews; STX trailer channel.

November, 19th 2025