"The F**k-It List" Soundtrack Lyrics

"The Fuck-It List (Original Motion Picture Soundtrack & Songs from the Film)" – Album Guide to Tracks and Key Scenes

Overview

What does a teenage “enough is enough” sound like? The Fuck-It List answers with glossy pop, vintage soul, and moody alt-rock — then threads an intimate electronic score beneath it. The playlist swings from swagger to second-thoughts: Isley Brothers-level confidence for first steps, Chaka Khan for glow and bravado, Kaleo for the big, smoky “we’re doing this” moment, and soft-focus singer-songwriter cuts when feelings finally catch up.

Story-wise, Brett (Eli Brown) blows up his perfect plan and, by accident, goes viral. The soundtrack becomes his crowd: chants, temptations, and the occasional truth bomb. Licensed tracks mark the “public” beats — bonfires, beach busking, messy romance — while Jimmy LaValle’s (The Album Leaf) score keeps a quieter diary under the noise. By the credits, the music has mapped a whole arc: from pressure → revolt → responsibility… with a side of “Wild Thing” shouted into the night.

Genres & themes, in phases: classic soul/funk — swagger; pop & electro-indie — viral rush; alt-rock anthems — rebellion & release; singer-songwriter — reflection; ambient-electronic score — doubt, breath, resolve.

How It Was Made

Composer: Jimmy LaValle (aka The Album Leaf) scored the film with a lean, atmospheric palette; additional music by James McAlister. Music supervision was led by Robin Urdang, with Louie Schultz as music editor. The movie premiered streaming (Netflix) on July 1, 2020 (later removed; now available via digital retailers).

Tracks & Scenes

“Freedom” (The Isley Brothers)

Where it plays:

Opening stretch — a swaggering hello as Brett’s “model student” shell starts to crack. Non-diegetic, needle-drop confidence sets the tone.

Why it matters:

Instant thesis: this story is about breaking out — even if clumsily.

“Like Sugar” (Chaka Khan)

Where it plays:

Early montage beats when the list goes public and attention pops; a glossy groove rides the viral wave.

Why it matters:

Sweet tooth for attention — the sound of temptation via clout.

“Wait Up” (Charlotte Lawrence)

Where it plays:

The first real Brett–Kayla chemistry scene, pushing from jokes into a kiss. Soft-focus production, close-up emotions.

Why it matters:

Teen-movie truth: crushes quiet the room, even mid-chaos.

“Hose Down” (The Perceptionists)

Where it plays:

After that first kiss, Brett spirals into a bedroom head-rush; quick-cut fantasies and plan-making.

Why it matters:

Comic swagger spikes — desire and bravado, barely under control.

“Be Good to Me” (Milo Greene)

Where it plays:

Road-to-reckoning beats as Brett and Kayla head toward smashing the car — a liminal drive, doubts flickering in the windows.

Why it matters:

Warm guitars vs. bad ideas — tenderness before a line gets crossed.

“Ultraviolet” (Freya Ridings) — and “Ultraviolet (Live)”

Where it plays:

Fallout/memory cues around Brett & Kayla’s push-pull; the live version surfaces as a more raw echo.

Why it matters:

Same melody, two textures — studio polish vs. live-wire regret.

“Wild Thing” (Eddie Navarro cover)

Where it plays:

Venice-Beach style street performance after the car-smash escape; Brett grabs a mic and lets reckless joy be loud.

Why it matters:

Rebellion turns communal — the list becomes a crowd anthem.

“Way Down We Go” (Kaleo)

Where it plays:

Bonfire scene where teens torch school junk and stress — long shadows, drifting sparks, a slow-burn chorus.

Why it matters:

Ritual release. The movie’s moody postcard of youthful revolt.

“I’ve Been Waiting” (Lil Peep, iLoveMakonnen & Fall Out Boy)

Where it plays:

Pool-float montage while “F**k-It List” videos flood the feed; Brett stares up, the world scrolls by.

Why it matters:

Cloud-rap melancholy = the come-down after internet sugar-high.

“1996” (Wild Child)

Where it plays:

Final kiss & epilogue vibe — a lighter, hand-clap sway as the future reopens.

Why it matters:

Not triumph — grace note. A humane button on the noise.

Score cues (Jimmy LaValle, The Album Leaf)

Where they play:

Under parental showdowns, essay-writing, and the “what now?” beats, LaValle’s synths and gentle pulses carry the private story the crowd can’t hear.

Why it matters:

The electronic bed is the conscience — small, steady, and honest.

Trailer music

What you hear:

Cut-to-beat editing over the film’s licensed cuts and percussive score stings; no single “trailer single” release.

Why it matters:

Markets the movie as a pop-powered teen detour — accurately.

Notes & Trivia

• Score DNA: LaValle’s background as The Album Leaf shows — ambient pads, patient pulses, and clean melodic lines.
• Supervisor: Robin Urdang wrangled a cross-era set of clearances (soul classics next to contemporary alt-pop).
• Viral logic: Diegetic moments (busking “Wild Thing”) keep the movie’s social-media plot grounded in sound we’d actually hear in-world.
• Release shuffle: Premiered on Netflix (July 1, 2020); later removed from the service and available via digital retailers.

Reception & Quotes

Critics were cool on the film but nodded at the soundtrack’s energy and the score’s restraint — the music frequently lands better than the sermon.

“A tone-deaf blend… but the songs punch up the mood.” — Decider

“Valedictorian-turned-viral… anchored by a lively needle-drop mix.” — The Hollywood Reporter

Availability: No single official “songs” album. Key tracks are on streaming; LaValle’s work appears across his catalog/film credits. Several fan playlists mirror the film set.

Interesting Facts

• Old-school soul, new-school angst: The Isley Brothers and Chaka Khan sit comfortably beside Lil Peep and Kaleo — the movie’s identity in a sentence.
• Bonfire anthem: “Way Down We Go” became the fan-favorite scene cue, often used in user-made edits of the film’s burn-it-down montage.
• Cover power: The “Wild Thing” busk works because it’s rough — plot-accurate imperfection.
• Quiet hero: The minimal score is where the character work happens; the loud songs sell the moments.
• Alt titles: International catalogs list funny censored variants (e.g., French: “Plus rien à f***”).

Technical Info

• Title: The F**k-It List
• Year: 2020
• Type: Feature film (coming-of-age dramedy) — curated songs + original score
• Composer: Jimmy LaValle (The Album Leaf); additional music by James McAlister
• Music supervision: Robin Urdang; music editor: Louie Schultz
• Selected notable placements: “Freedom” (opener vibe); “Like Sugar” (viral montage); “Wait Up” (first kiss); “Hose Down” (post-kiss rush); “Be Good to Me” (pre-smash drive); “Wild Thing” (street performance); “Way Down We Go” (bonfire); “I’ve Been Waiting” (pool montage); “1996” (final beat)
• Label/album status: No official “various-artists” OST; tracks available individually on DSPs; score credited to LaValle within film/credits
• Release context: Streamed on Netflix (July 1, 2020); currently rentable/purchasable on major digital stores (availability varies by region)

Questions & Answers

Who composed the score?

Jimmy LaValle (The Album Leaf) — with additional music by James McAlister.

Is there an official soundtrack album?

No single “songs” compilation. The film uses licensed tracks plus score; fans maintain playlists that collect the cues.

What’s the bonfire song?

Kaleo’s “Way Down We Go.” It underscores the book-burning/bonfire catharsis sequence.

Who supervised the music?

Robin Urdang handled music supervision; Louie Schultz served as music editor.

Where can I watch the film now?

It left Netflix; check digital retailers (e.g., Prime Video/Apple TV) for rental or purchase in your region.

Key Contributors

Sources: official credits & databases; soundtrack listings with scene notes; press & reviews; distribution pages and composer filmographies.

November, 28th 2025