"Vengeance" Soundtrack Lyrics

"Vengeance (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

What happens when a true-crime podcaster walks into a country bar? Vengeance answers with a soundtrack that splices two Americas — neon honky-tonks and anxious, synth-flecked score — into one dark comedy mystery. The songs sell the place; the score sells the doubt.

Vengeance (Original Motion Picture Soundtrack) is an original score by Finneas O’Connell, paired on-screen with a lean set of Texas-flavored needle-drops (Toby Keith’s “Red Solo Cup,” Casey Donahew’s “That’s Why We Ride,” etc.). Across the film, Finneas’ cues move from dryly comic plucks to glassy, ambient unease — music for a journalist’s certainty melting on the drive between a pumpjack and a Whataburger.

Style map: country-bar singalongs — shared myth and bravado; ambient/indie score — suspicion and self-awareness; dusty guitars — heat shimmer; pulse beds — the podcast hunt turning into something messier.

How It Was Made

Composer & album: B.J. Novak tapped Finneas O’Connell for his feature debut; Finneas delivered a 28-track score album released July 29, 2022 alongside the movie. The writing process leaned on conversation and restraint — “rookie composer, rookie director” energy turning into a confident tone piece.

Song placements: Country cuts and regional radio staples ground the setting (from Toby Keith’s opening gag to rodeo-ready Casey Donahew); the score threads through interviews, late-night drives, and the finale’s moral snap.

Tracks & Scenes

“Red Solo Cup” (Toby Keith)

Where it plays:

Opening credits. The country singalong arrives as a tone joke — cheap cups, big feelings — before the mystery sets in. Diegetic-to-feel needle-drop.

Why it matters:

Plants us in a specific America with one chorus; the movie will complicate that picture fast.

“That’s Why We Ride” (Casey Donahew)

Where it plays:

~0:14 — After the funeral, the guys debrief Ben’s eulogy while driving; the track rolls under the banter. Non-diegetic/local radio vibe.

Why it matters:

Introduces the Shaw family’s world — loyalty, trucks, pride — in three minutes.

“That Thang” (Brian McComas)

Where it plays:

~0:55 — The girls dance at a house party; Ben watches, recording mental notes he doesn’t yet understand. Diegetic party cue.

Why it matters:

Small-town joy as texture — and a city outsider’s gaze meeting a real room.

“Got an Evil Eye” (Nine One One)

Where it plays:

~1:27 — Ben crashes a bigger Texas bash, babysitting from the car while the party thumps inside. Diegetic.

Why it matters:

Comedy of distance: our narrator is near the story, not in it — yet.

Score cue: “Vengeance” (Finneas O’Connell)

Where it plays:

Album opener; early montage bed when Ben reframes Abby’s death as a “story.” Clean guitar harmonics, then a subtle low synth.

Why it matters:

States the thesis: a clever man hearing only what flatters him.

Score cue: “Your Girlfriend’s Dead”

Where it plays:

Phone call beats and fallout. Dry beat, brittle textures; the cue keeps irony at arm’s length until grief gets a word in.

Why it matters:

Title-as-needle — the movie’s comedy keeps colliding with loss.

Score cue: “Five Hours From Abilene” → “Welcome to Texas”

Where it plays:

Airport-to-highway glide. Sparse motif, highway air; then a short, jaunty sting as Ben arrives.

Why it matters:

Two Americas on one interstate — coastal confidence meeting a giant sky.

Score cue: “Dead White Girl”

Where it plays:

Podcast-chase montage as the story pivots from bit to obsession. The cue pulses like an edit timeline.

Why it matters:

Interrogates the “true-crime” frame the film is critiquing.

Score cue: “Sancholo”

Where it plays:

Shadowing the local dealer; rhythmic clacks, muted bass, curious but cautious.

Why it matters:

Turns rumor into presence; the music refuses caricature.

Score cue: “What If She Was”

Where it plays:

Late revelation beats — soft piano and a widening pad as Ben hears the thing he didn’t want to hear.

Why it matters:

Empathy arrives; the movie gets quiet so the choice can get loud.

Notes & Trivia

• The score album is entirely by Finneas O’Connell (28 cues, ~61 minutes); he joined after early talks with Novak about tone and restraint.
• “Red Solo Cup” really does open the film — a comic needle-drop before the mystery engine turns over.
• Country placements (Casey Donahew, Brian McComas, etc.) are sparse but pointed — a few songs do a lot of world-building.
• The movie premiered at Tribeca (June 12, 2022) and opened theatrically July 29 (Focus Features).

Reception & Quotes

Reviews greeted the film warmly and singled out the score’s sly support — modern textures that don’t shout over the jokes.

“Two brothers figuring it out… composer and director chasing the same tone.” The Hollywood Reporter (Finneas & Novak interview)

“Finneas joined after bonding with Novak… a tasteful, nervy score.” Variety

Availability: The score album Vengeance (Original Motion Picture Soundtrack) released digitally on July 29, 2022 (major platforms). Individual tracks are short and modular, mirroring the film’s chaptered storytelling.

Interesting Facts

• Album structure: Many cues clock under two minutes — they’re scene-tools, not showpieces.
• Regional needle-drops: A handful of Texas-leaning tracks do the heavy lifting for place; most emotion comes from the score.
• Title gags: Finneas’ cue names (“Dead White Girl,” “Once People on Reddit Find Out”) mirror the script’s media satire.
• Focus roll-out: Score hit streaming day-and-date with the theatrical release.

Technical Info

• Title: Vengeance (Original Motion Picture Soundtrack)
• Year: 2022 (album released July 29; film US release July 29; Tribeca premiere June 12)
• Type: Film soundtrack — original score + on-screen licensed songs
• Composer: Finneas O’Connell
• Label/album status: Digital release (28 tracks; ~61 minutes)
• Selected notable placements: Opening credits — “Red Solo Cup” (Toby Keith); Car banter — “That’s Why We Ride” (Casey Donahew); House party — “That Thang” (Brian McComas); Big bash — “Got an Evil Eye” (Nine One One); Investigative beats — score cues “Dead White Girl,” “Sancholo,” “What If She Was.”

Questions & Answers

Who composed the film’s score?

Finneas O’Connell — his first feature score, released as a 28-track digital album.

Is there a separate “songs” soundtrack?

No official “various artists” album — the retail release is Finneas’ score; the country songs are licensed in-film only.

What’s the opening song over the credits?

Toby Keith’s “Red Solo Cup.” It’s a deliberate tone-setter before the plot grabs hold.

Where can I find the full score tracklist?

On major storefronts (Apple Music/Spotify) under Vengeance (Original Motion Picture Soundtrack) — all cue titles are listed.

Does the music change as Ben’s view changes?

Yes — early cues are drier and ironic; late cues widen into warmer piano/ambient textures as he finally listens.

Key Contributors

Sources: Apple Music & Spotify album pages (full cue list); FilmMusicReporter (album/track details; composer); Hollywood Reporter & Variety interviews (Finneas/Novak on the score); IMDb Soundtracks (licensed songs); scene-by-scene song logs (timestamps & placements); Wikipedia (film basics).

November, 20th 2025