"Stick It" Soundtrack Lyrics

"Stick It (Original Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

How do you make a rule-breaker feel like a rally? Stick It answers with hip-hop hooks, pop-punk jolts, and gritty in-film beats that turn judging into the villain and velocity into a credo. It’s a rare sports soundtrack where the edits are the arguments: snare hits for rebellion, four-on-the-floor for swagger, and a few aching instrumentals when the bravado finally cracks.

The retail album stacks recognizable names — Missy Elliott, Talib Kweli, Panjabi MC, Electric Six, Blink-182, Jurassic 5 — while the film itself leans on composer Michael Simpson’s gym-floor mini-cues (“Workout,” “Sentimental,” “Hittin’ the Bars”) to bind training, bruises, and those little mutinies that make Haley Haley. The result: a mixtape of defiance where every cue either pushes a routine or pushes back at a rule.

Styles & phases: hip-hop (agency and attitude), pop-punk/alt-rock (teen torque, team bonding), Bollywood-bhangra crossover (flight energy and chase giddiness), nu-electro (in-house comps), and spare score cues (private doubt, resolve).

How It Was Made

Writer–director Jessica Bendinger keeps the camera in motion and the cuts on beat, then lets music do the politics. Michael Simpson (of the Dust Brothers) supplied the score cues that thread training and inner monologue, while Spring Aspers supervised the film’s song clearances and placements. The album shipped via Hollywood Records/Touchstone Pictures, with Missy Elliott’s “We Run This (Stick It Edit)” pushed as the campaign single.

Tracks & Scenes

Selected placements (album cuts + key film-only cues). Time notes are relative — early/mid/late — to the ~103-minute cut. Not a full tracklist.

“We Run This (Stick It Edit)” (Missy Elliott)

Where it plays:

Opening credits into the construction-site BMX break-in — Haley and friends bomb through studs and stairwells, the beat snapping like a starter pistol. Semi-diegetic feel off the montage; early.

Why it matters:

Mission statement: the kids set the tempo — not the judges, not the parents.

“Abra Cadabra” (Talib Kweli)

Where it plays:

Street-ride and empty-pool trick run: handlebars, wall rides, and that “shut up and listen” opener as Haley carves concrete. Non-diegetic; early.

Why it matters:

Establishes flow — she’s a rhythm athlete before she’s a rule-follower.

“Beware of the Boys (Mundian To Bach Ke)” (Panjabi MC)

Where it plays:

Police chase from the construction site — bhangra dhols make the getaway bounce. Non-diegetic; early.

Why it matters:

Flips a chase into a dance — flight as choreography.

“Renegade” (Styx)

Where it plays:

Back in Haley’s room after the court ruling — classic-rock blare as she steels for the return to gymnastics. Source on stereo; early.

Why it matters:

Old-school outlaw vibe for a teen who won’t color inside the lines.

“Dance Commander” (Electric Six)

Where it plays:

In-house VGA competition — double bars and friendly sabotage; the floor becomes a party. Non-diegetic; mid.

Why it matters:

Signals the team’s chemistry and taste for chaos — fun is a tactic.

“Anthem, Pt. 2” (Blink-182)

Where it plays:

Joanne storms the runway, then scratches in solidarity. The pop-punk surge matches the smirk. Non-diegetic; mid-late.

Why it matters:

Mutiny with a snare roll — the kids pick who wins.

“The Game” (Jurassic 5)

Where it plays:

VGA training montage — rope climbs and chalk clouds, verses landing in lockstep with reps. Non-diegetic; mid.

Why it matters:

Frames practice as competition — the “game” is the grind.

“Fire Fire” (Fannypack feat. Mr. Vegas)

Where it plays:

Ice-bath gag and a fantasy of quick fixes — cutaways to pills and shortcuts. Non-diegetic; mid.

Why it matters:

Temptation as a party track — the film laughs, then says no.

“One Big Holiday” (My Morning Jacket)

Where it plays:

After a blow-up, Haley sprints back toward the gym, dusk bleeding into neon. Non-diegetic; late.

Why it matters:

Southern-fried catharsis — the “run back” resolves stubbornness into choice.

“Our Lawyers Made Us Change the Name of This Song So We Wouldn’t Get Sued” (Fall Out Boy)

Where it plays:

Final floor routine at Nationals — crowd pops on the chorus sync, camera floats with the tumbling line. Non-diegetic; late.

Why it matters:

The pop-punk flex that turns the judges’ sting into a victory lap.

“Outta My Way” (Damone)

Where it plays:

Post-routine adrenaline and quick-cut celebrations; rolls toward credits. Non-diegetic; very late/end.

Why it matters:

Exit music for rebels — a shove past gatekeepers.

Composer cues by Michael Simpson — “Workout,” “Sentimental,” “Hittin’ the Bars,” “Burt’s Badass Song,” “Halen”

Where it plays:

“Workout” powers multiple training beats; “Sentimental” underscores Haley’s beam tear and quiet reckonings; “Hittin’ the Bars” tags the results-reveal/credits; “Burt’s Badass Song” rolls over the welcome to VGA; “Halen” (a Van Halen-tinged riff) threads late-competition pump-ups. Non-diegetic; across mid→late.

Why it matters:

These short cues are the film’s heart rate — the reason the big singles feel earned.

Notes & Trivia

• Music by Michael Simpson (Dust Brothers) — his cues (“Workout,” “Sentimental,” etc.) became cult-shared downloads among fans.
• Spring Aspers supervised the film’s music; Mitchell Leib served as Disney’s executive in charge of music.
• The soundtrack album released on Hollywood Records for Touchstone Pictures; streaming pages credit both.
• Missy Elliott’s “We Run This (Stick It Edit)” was cut specifically for the film and used heavily in marketing.
• Elite gymnasts Nastia Liukin, Carly Patterson, Bart Conner, and others cameo — the sound mix treats competition like a televised event.

Music–Story Links

Haley’s first sprint isn’t to a beam — it’s into a house shell to Missy’s command, making rebellion the character’s time-signature. Bhangra makes the police chase bounce, reframing danger as play. Electric Six and Blink-182 turn scratches into solidarity; the pop-punk edge sells that this is a protest, not a tantrum. When Simpson’s “Sentimental” lands on the beam tear, the movie finally whispers. Then Fall Out Boy roars the finale — not because she needs noise, but because she’s finally choosing it.

Reception & Quotes

Reviews tilted mixed-positive on plot but repeatedly praised the needle-drops and the movie-as-mixtape energy.

“A pop-punk, hip-hop pep talk disguised as a sports movie.” — regional press round-ups

“The soundtrack does a lot of heavy lifting — the rebellion lands in the bass.” — fan/critic consensus summaries

Interesting Facts

• Label details: Streaming listings show Hollywood Records as label with Touchstone Pictures as the compilation owner.
• Promo DNA: Atlantic cross-promoted Missy Elliott’s video cut with film clips.
• Score crumbs: Simpson posted several short cues on his site in the 2000s — fans traded them for years.
• Gym-cameos: Nastia Liukin’s bars set is featured in-film; commentators’ patter is mixed like a TV broadcast.
• Two Missy moments: “We Run This” opens; an instrumental edit reappears near the end-credits sprint.

Technical Info

• Title: Stick It (Original Soundtrack)
• Year: 2006
• Type: Feature Film Soundtrack (Compilation) + original score cues
• Composer: Michael Simpson
• Music Supervision: Spring Aspers (feature)
• Label: Hollywood Records (Touchstone Pictures compilation)
• Key Singles / Set-Piece Engines: “We Run This (Stick It Edit)” — Missy Elliott; “Abra Cadabra” — Talib Kweli; “Beware of the Boys (Mundian To Bach Ke)” — Panjabi MC; “Anthem, Pt. 2” — Blink-182; “Dance Commander” — Electric Six; “Our Lawyers Made Us Change the Name…” — Fall Out Boy.
• Availability: Streaming (album: ~15 tracks); physical CD issued at release.

Questions & Answers

Who composed the score for Stick It?

Michael Simpson (of the Dust Brothers) — he wrote the short gym-floor cues that stitch scenes together.

What’s the first song in the movie?

Missy Elliott’s “We Run This (Stick It Edit)” — it blasts over the opening BMX/construction montage.

What song plays during the police chase?

Panjabi MC’s “Beware of the Boys (Mundian To Bach Ke).”

What powers the final floor routine?

Fall Out Boy’s “Our Lawyers Made Us Change the Name of This Song So We Wouldn’t Get Sued.”

Who handled music supervision?

Spring Aspers led music supervision on the feature.

Key Contributors

Sources: Apple Music album page; Spotify album; Wikipedia (film credits & composer); Metacritic credits (music department); fan-curated scene logs (SoundtrackINFO); supplemental scene mapping databases.

November, 27th 2025