"Red Notice" Soundtrack Lyrics

"Red Notice (Soundtrack from the Netflix Film)" – Album Guide to Tracks and Key Scenes

Overview

What happens when an art-heist caper borrows a globetrotting jukebox? Arrival — adaptation — rebellion — collapse: Red Notice rides needle-drops like punchlines while Steve Jablonsky’s score tightens every chase and double-cross. The music winks, then sprints.

As an album, Red Notice (Soundtrack from the Netflix Film) delivers 25 cues of glossy, propulsive writing — low brass swagger, sleek strings, rhythmic synth pulses. Around it, well-placed songs snap scenes into focus: Beastie Boys blast a Rome getaway, Gotan Project perfumes a masked gala, and a Notorious B.I.G. classic struts into the Louvre.

The mix is deliberately cross-era: vintage hip-hop and tango cool set against modern blockbuster scoring. It’s heist cinema with a playlist’s attention span, turning locations into genres and reveals into musical punchlines.

Genres & themes in phases. Phase 1 (arrival): big-beat score + classic rap — competence and bravado. Phase 2 (adaptation): nuevo-tango & lounge — seduction and surveillance. Phase 3 (rebellion): orchestral chase modes — betrayal as percussion. Phase 4 (collapse/acceptance): end-credits pop/hip-hop — the thieves live to scheme again.

How It Was Made

Director Rawson Marshall Thurber tapped Steve Jablonsky to score the film; the official album dropped on November 12, 2021, with 25 tracks and a sleek action palette released via Milan Records/Sony Masterworks. The digital release coincided with Netflix’s streaming premiere, and a physical CD followed shortly after in retail.

Music supervision came from Gabe Hilfer, who threaded a compact group of high-recognition cuts (“Sabotage,” “Notorious B.I.G.”), international flavors (Gotan Project), and sly diegetic moments (“Downtown” sung in-scene). The result feels both globe-hopping and joke-friendly — a caper tone that never trips the momentum. As Milan’s notes put it, the score is “high-octane” orchestral work built to steer set pieces.

Tracks & Scenes

“Sabotage” — Beastie Boys
Where it plays: Rome, near the Colosseum: John Hartley bolts toward a Porsche Taycan and the song detonates — bravado in a can — before a humiliating gelato-truck interruption (~00:12). Non-diegetic, hard-cut with the gag.
Why it matters: Announces the movie’s sense of humor: maximum swagger, immediate undercut.

“Época” — Gotan Project
Where it plays: Over an overhead glide into Sotto Voce’s Valencia gala (~00:50), the nuevo-tango sets perfume and intrigue as masks sweep past the camera. Non-diegetic into source flavor inside the party.
Why it matters: Location as genre — the cue paints seduction and surveillance at the same time.

“Amado Mio” — Pink Martini
Where it plays: A masked musician croons during the gala (~00:52) while Hartley clocks a party crasher and an identity switch; diegetic, drifting over hushed plotting.
Why it matters: Old-world romance used as cover noise for a modern con.

“Downtown” — Tony Hatch (sung in-scene)
Where it plays: During a darkly funny interrogation (~01:09), The Bishop casually sings the tune — then again after poisoning Sotto Voce (~01:12). Purely diegetic; weaponized cheeriness.
Why it matters: Character flex: turning a chirpy standard into menace.

“The Raider’s March” — John Williams (whistled)
Where it plays: In Argentina (~01:24), as a certain famous bunker is located; Nolan whistles Indy’s theme — a meta wink at relic-chasing. Diegetic.
Why it matters: The movie knows its ancestors; the whistle lets you in on the joke.

“Perfect” — Ed Sheeran
Where it plays: A Cairo wedding sequence (~01:43) where Sheeran himself pops up; the sugar-sweet needle-drop turns into a cameo punchline. Non-diegetic into on-screen recognition.
Why it matters: Pop sincerity as comic misdirection.

“Notorious B.I.G.” — The Notorious B.I.G. feat. Lil’ Kim & Puff Daddy
Where it plays: Final Paris beat (~01:48): our trio strolls toward the Louvre and a new job; the track does the strutting for them. Non-diegetic swagger cue.
Why it matters: Victory lap as vibe — the con continues.

“On the Run” — Naz Tokio
Where it plays: End credits (~01:49), stamping the escapade with a taunting hook tailor-made for sequel energy. Non-diegetic; full-credits placement.
Why it matters: Title says it — these thieves don’t stop.

Score picks — Steve Jablonsky
“Main Title,” “Museum Chase,” “Escape from Gora Smerti,” “Masquerade Ball.” Expect tight rhythmic engines, sudden brass punctuation, and lyrical relief during romantic feints. The album sequencing mirrors the plot’s sprint-pause-sprint cadence.
Why it matters: The score stitches the globe-hop into one continuous heist heartbeat.

Notes & Trivia

• Composer: Steve Jablonsky; Music Supervisor: Gabe Hilfer (documented in industry credits and coverage).
• The soundtrack album features 25 cues and runs ~70 minutes; the digital release landed the same day the film hit Netflix.
• End-credits original: “On the Run” by Naz Tokio — written by Lauren Hashian, Naz Tokio, Aja Hashian, and Eric Zayne.
• The movie deliberately quotes “The Raider’s March” via whistling — a cheeky relic-heist nod.

Music–Story Links

Rap + pratfall = tone primer. “Sabotage” tees up competence before a comic reversal; the film tells you it will stunt and clown in the same breath.

Tango = mask logic. “Época” and “Amado Mio” perfume the masquerade so we accept lies told beautifully.

Diegetic pop = character power play. The Bishop’s “Downtown” turns pleasantries into threat — a villain’s smile you can hum.

Credits hip-hop = franchise runway. “Notorious B.I.G.” into “On the Run” says: job done, next mark loading.

Reception & Quotes

While critics split on plot mechanics, the music/needle-drop blend was widely noted as part of the film’s glossy fun; the score album itself earned praise for clean thematic writing and high-gloss action craft. As Filmtracks summarizes, Milan/Sony Masterworks handled release and the cues apply recurring motifs smartly.

“High-octane orchestral score with 25 action-packed tracks.” Label materials

“Recurring themes, sleek execution… Jablonsky keeps the caper humming.” Filmtracks

Interesting Facts

• The album’s ℗ line reads: Maisie Music Publishing, LLC under exclusive license to Sony Music Entertainment.
• A physical CD followed the digital drop in late 2021 retail channels.
• Two sequels were announced for back-to-back production; the end-credits energy all but tees them up.
• The mix of songs is small but memorable — each tied to a clear scene beat rather than wall-to-wall wallpaper.
• Yes, that’s an Ed Sheeran cameo synced to “Perfect.”

Technical Info

• Title: Red Notice (Soundtrack from the Netflix Film)
• Year: 2021
• Type: Original score (with additional licensed songs)
• Composer: Steve Jablonsky
• Music Supervisor: Gabe Hilfer
• Label/Release: Milan Records / Sony Masterworks — digital release Nov 12, 2021; CD followed shortly after
• Notable song placements: “Sabotage” (Rome intro chase); “Época” & “Amado Mio” (Valencia gala); “Downtown” (interrogation, sung in-scene); “Notorious B.I.G.” (Paris coda); “On the Run” (end credits)
• Album highlights (score): “Main Title,” “Museum Chase,” “Escape from Gora Smerti,” “Masquerade Ball”
• Availability: Streaming on major platforms; official YouTube playlist hosts all cues

Questions & Answers

Who composed the score for Red Notice?

Steve Jablonsky — the album collects 25 cues of sleek, action-forward scoring.

What song plays over the end credits?

“On the Run” by Naz Tokio — a tailor-made closer for a getaway.

Which track scores the masked gala?

Gotan Project’s “Época” ushers us in; Pink Martini’s “Amado Mio” floats inside the party.

Who supervised the needle-drops?

Gabe Hilfer is credited as music supervisor in industry listings and coverage.

Is there a physical release of the score?

Yes — after the Nov 12, 2021 digital drop, a CD reached retailers later in 2021.

Canonical Entities & Relations

Sources: Milan Records; Apple Music; Filmtracks; Vague Visages; IMDb Soundtracks; Metacritic credits; Discogs; Netflix; YouTube Trailer.

As label materials note, the album compiles 25 high-energy cues by Steve Jablonsky; per Vague Visages’ scene log, the key songs land with clear timestamps; according to Metacritic’s credits page, Gabe Hilfer is music supervisor; and as Apple’s listing confirms, the album arrived digitally on Nov 12, 2021.

November, 19th 2025