"To All the Boys: Always and Forever, Lara Jean" Soundtrack Lyrics

"To All the Boys: Always and Forever (Music From the Netflix Film)" – Album Guide to Tracks and Key Scenes

Review

What if a teen rom-com album had to be a diary, a dance floor, and a love letter at once? This one is. The third Covey chapter leans harder into curation than score: fizzy K-pop, indie shimmer, ‘90s/‘00s touchstones, and a handful of originals stitched to Lara Jean’s decisions — Seoul memories, New York temptation, and a last slow dance before grown-up distance.

As a listen, it’s deliberately eclectic: Girls’ Generation and Cherry Bullet bookend travel and meet-cute energy; Oasis and Hippo Campus nod to dad-radio and dorm-room indie; Leah Nobel’s “Beginning Middle End” becomes the saga’s thesis in hook form, while Black Match’s “Won’t Let Go” carries the cap-and-gown ache. The album proper is a 16-track sampler; the film itself flexes north of forty cues, so discovery doesn’t stop at the tracklist. That’s the point — Lara Jean builds a life playlist, not a mixtape.

In phases: K-pop sparkle — giddiness, travel, sisterhood; indie/bedroom pop — private choices, late-night texts; legacy pop — nostalgia and comfort; originals — the relationship’s voice, finally sung.

How It Was Made

Music supervisors Laura Webb and Lindsay Wolfington mapped a ~45-song wall to mirror Lara Jean’s taste (and the trilogy’s John Hughes wink), with more K-pop than earlier entries to honor the Seoul prologue. Capitol Records issued the companion album on Feb 12, 2021 — 16 cuts, including new originals by Leah Nobel, FLETCHER, The Greeting Committee, Jordan Suaste, and Emmit Fenn. Composer Joe Wong handled the (lightly used) score for connective mood.

Tracks & Scenes

Key placements by moment (home releases vary slightly). Trailer note at the end.

“Gee” (Girls’ Generation)

Where it plays:

Opening trip to Seoul — crosswalks, cafés, and the Covey sisters hunting for their mom’s lock. The camera floats; the city pops.

Why it matters:

Sets giddy tone and cultural frame in one breath — Lara Jean’s joy has a K-pop beat.

“Fancy” (Iggy Azalea feat. Charli XCX) — karaoke cover by the Covey sisters

Where it plays:

Hotel karaoke. The sisters go full performative; Kitty hams, Margot harmonizes, Lara Jean laughs the jet lag away.

Why it matters:

Family energy, not just romance — the trilogy’s secret sauce.

“Wannabe” (Spice Girls)

Where it plays:

Fantasy flash of a Stanford future — Lara Jean imagines the “perfect” plan with a soundtrack as iconic as the dream.

Why it matters:

Friendship anthem ironically under a couple’s dream — cute and pointed.

“Q&A” (Cherry Bullet)

Where it plays:

Airport return / Kitty’s meet-cute thread sparks. Bouncy synths, new crush energy, quick cuts.

Why it matters:

Hands the baton to the next Covey romantic — seeds later spinoffs.

“Affection” (Lady Bri)

Where it plays:

Promposal vibe. Peter does grand; Lara Jean half-teases, half-melts.

Why it matters:

Modern doo-wop bounce to underline teen-movie ritual.

“I Like Me Better (Ryan Riback Remix)” (Lauv)

Where it plays:

Class heads for NYC — coach bus glow, skyline tease through the windows.

Why it matters:

2010s pop comfort as bridge from plan to possibility.

NYC Party run — The Greeting Committee quartet

Where it plays:

At the warehouse party: “17” (arrival energy), “Beginning Middle End” (LJ lingers by the live band), “Gold Star” (after she sends the video), “Run For Your Money” (dance breaks).

Why it matters:

Diegetic crush: the band becomes a mirror for Lara Jean’s changing idea of “us.”

“Dream Girl” (Anna of the North)

Where it plays:

Surprise bowling date — neon lanes, rented shoes, soft looks.

Why it matters:

Breathy synth-pop for the “we still like each other” reset.

“Bambola” (Betta Lemme)

Where it plays:

Bowling continues — gutter balls, mock drama, the grin you can’t fake.

Why it matters:

Continues the flirty European-club wink amid lanes and nachos.

“Don’t Look Back in Anger” (Oasis)

Where it plays:

Lara Jean scrolls Peter’s playlist — the Britpop chestnut drops like a musical olive branch.

Why it matters:

Nostalgia as apology; they’re kids, but the songs make room for big feelings.

Prom sequence: “Peaches” (Milk & Bone, Alex Lustig) → “Feeling That” (Sioux Sioux) → “If The World Ended Tonight” (Jordan Suaste)

Where it plays:

Dresses on the stairs; entry to prom; then the slow-dance crown moment.

Why it matters:

Three-step arc: reveal, rush, and the romantic center of the movie.

“The Same” (Ashe)

Where it plays:

After-prom walk-up to LJ’s room, voices low, future heavy but not hopeless.

Why it matters:

Plain-spoken warmth; a breath before choices lock.

Wedding suite: “Real Love” (Ashe) → “I Will Take Care of You” (William Bell) → “Dancing in the Moonlight” (Toploader) → “Feeling Good” (John the Martyr)

Where it plays:

Ceremony to first dance to reception lift to the last spin.

Why it matters:

Family arc lands. Adult love models the teenage version.

“Until We Leave the Ground” (Emmit Fenn)

Where it plays:

Yearbook-in-the-tent discovery; the private quiet before the answer.

Why it matters:

Ambient glow for a decision made alone.

“Beginning Middle End” (Leah Nobel) — endgame theme

Where it plays:

Their dance and into credits (Always & Forever Mix). The lyric finally fits the couple again.

Why it matters:

The trilogy’s closest thing to “their song” gets the last word.

“Won’t Let Go” (Black Match)

Where it plays:

Graduation sequence — caps fly; tight smiles say “we’ll try.”

Why it matters:

Bittersweet resilience in four words.

Trailer cue

Betty Who — “I Love You Always Forever.” The official trailer rides her 2016 cover, a swoony promise over senior-spring snapshots.

Notes & Trivia

• The album (Capitol) landed day-and-date with the film (Feb 12, 2021); CD and vinyl followed in the U.S. that spring.
• Supervisors Webb & Wolfington planned ~47 cues to keep faith with Lara Jean’s taste; the 16-track album is a highlights reel.
• Four originals were created for the film/album cycle, including “Beginning Middle End” and new cuts by FLETCHER, The Greeting Committee, and Jordan Suaste.
• The film opens in Seoul; the soundtrack leans harder into K-pop than prior entries to reflect that.
• Composer Joe Wong’s score threads between songs — minimal but effective.

Reception & Quotes

Press called the trilogy’s final soundtrack the most buoyant and cohesive of the three, praising the K-pop tilt and the originals’ narrative fit.

“An absolutely banging soundtrack.” PopBuzz

“Mixes K-pop and Oasis with deft, scene-specific picks.” Refinery29

“Best of the trilogy.” Seventeen

Interesting Facts

• Diegetic centerpiece: The Greeting Committee’s songs play live in-scene, not just as background.
• Playlist as plot: Peter’s mixtape (Oasis included) becomes a character gesture.
• K-pop bookends: “Gee” opens; “Q&A” tags Kitty’s crush thread — tidy symmetry.
• Trailer swap: Betty Who’s “I Love You Always Forever” powers marketing but isn’t on the album.
• Graduation tone: “Won’t Let Go” gives the finale grit instead of pure sugar.

Technical Info

• Title: To All the Boys: Always and Forever (Music From the Netflix Film)
• Year: 2021
• Type: Film soundtrack (various artists) + light original score
• Composer: Joe Wong (score)
• Music supervision & album producers: Laura Webb; Lindsay Wolfington
• Label: Capitol Records (digital Feb 12, 2021; CD May 7; LP June 18)
• Selected notable placements: “Gee,” “Wannabe,” The Greeting Committee party set, “Dream Girl,” “Don’t Look Back in Anger,” “If The World Ended Tonight,” “The Same,” “Beginning Middle End,” “Won’t Let Go.”
• Trailer song: Betty Who — “I Love You Always Forever.”
• Availability: Streaming/download; physical releases in select regions

Questions & Answers

What’s Lara Jean & Peter’s “song” in this one?

Leah Nobel’s “Beginning Middle End” — heard at the party and again in the finale/credits mix.

Why so much K-pop this time?

The story opens in Seoul; the supervisors leaned into LJ’s love of K-pop to reflect that trip and her taste.

Is every film cue on the album?

No — the movie uses ~45 songs; the album cherry-picks 16 highlights (plus the originals).

Who composed the score cues between songs?

Joe Wong — understated connective pieces under dialogue and travel.

What’s the trailer song?

Betty Who’s cover of “I Love You Always Forever.” It’s in marketing, not the film proper.

Key Contributors

Sources: Capitol/Apple Music album page; Wikipedia (film & soundtrack pages); Refinery29 scene-by-scene list; Seventeen scene placements; ScreenRant overview; PopSugar trailer-song ID; Spotify/official playlists; Netflix trailer.

November, 29th 2025