"Venom 3" Soundtrack Lyrics

"Venom: The Last Dance (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

What does a breakup between a man and his alien sound like — a lullaby… or a stadium sing-along? Venom: The Last Dance answers with both. The trilogy closer leans on a taut, gleaming score by Dan Deacon and a handful of needle-drops that swing from classic rock bravado to pop-memorial tenderness. As Eddie and Venom run out of road, music keeps asking: do we go out screaming or smiling?

The official album — Venom: The Last Dance (Original Motion Picture Soundtrack) — is Deacon’s 28-cue suite: elastic pulses, glassy pads, and sudden orchestral heft. On screen, songs arrive as character beats more than wallpaper: an acoustic Bowie sing-along that turns the room into a confession booth; a gleeful ABBA moment that lets the franchise’s secret romantic loose; and a closing montage set to a pop elegy that reframes three movies as one friendship.

Styles in phases: analog-tinged synth & strings — paranoia, pursuit, the “net closing in”; classic/arena rock — bravado and comic swagger; nostalgic pop — memory and mercy; hip-hop/alt bangers — credits-roll catharsis.

How It Was Made

Score & release: Director Kelly Marcel tapped Dan Deacon (her collaborator on The Changeling) to compose the finale’s score. Recorded at the Sony Scoring Stage and released by Sony Classical on October 25, 2024, the album runs ~57 minutes across 28 tracks (“Knull’s Order,” “Lab Battle,” “Sky Dive,” “Phoning Home,” etc.).

Song integrations: The film sprinkles choice cuts — Queen, Cat Stevens, David Bowie (cast sing-along), ABBA (A*Teens cover in credits regions), Maroon 5, Toto, and more — plus an original end-credits single, “One Last Dance,” from Tom Morello with Roman Morello and grandson.

Tracks & Scenes

“Don’t Stop Me Now” (Queen)

Where it plays:

Eddie rides the “Venom horse” in a gonzo momentum gag; the needle-drop turns bravado into punchline (mid-film; non-diegetic).

Why it matters:

Classic-rock invincibility undercuts the fear — a franchise-typical wink that sells Eddie/Venom’s chaotic confidence.

“Space Oddity” (David Bowie) — cast acoustic sing-along

Where it plays:

A campfire-style, in-scene sing-along on the way to Las Vegas; Venom can’t resist joining, and the room melts (diegetic).

Why it matters:

Turns cosmic loneliness into found-family warmth — a rare quiet beat that deepens Eddie/Venom’s bond.

“Wild World” (Cat Stevens)

Where it plays:

Underscores Vegas-drive images (non-diegetic in-film); also the featured trailer cue that recasts mayhem with tender irony.

Why it matters:

Sunny melody, bittersweet message — perfect tonal counterpoint for a farewell chapter.

“Dancing Queen” (ABBA) / end-credits variant: A*Teens

Where it plays:

Venom dances with Mrs. Chen in Las Vegas — pure comic release (diegetic vibe). A*Teens’ cover surfaces around credits in certain regions/editions.

Why it matters:

Lets the symbiote be unabashedly joyful — the trilogy’s running joke: the monster is a softie.

“Memories” (Maroon 5)

Where it plays:

Closing montage reflecting on Eddie & Venom — clips from across the trilogy roll under the pop elegy (non-diegetic; finale).

Why it matters:

Reframes three films as a relationship scrapbook — surprisingly tender for a goo-monster saga.

“One Last Dance” (Tom Morello, Roman Morello & grandson)

Where it plays:

Credits single — a riff-forward, fists-up sendoff as names roll.

Why it matters:

The title track in spirit: goodbye with grit.

“I Had Some Help” (Post Malone feat. Morgan Wallen)

Where it plays:

Tagged to the post-credits stinger window in certain versions/territories (non-diegetic).

Why it matters:

A wry, contemporary earworm — pop culture bleeding into the encore.

“Hold the Line” (Toto)

Where it plays:

On-screen source cue in the film’s jukebox mix (non-diegetic placement in scene transitions).

Why it matters:

Polished AOR sheen that contrasts with Deacon’s nervy textures.

“Tequila” (The Champs)

Where it plays:

Deployed as a recognizable bar/party needle-drop (diegetic system).

Why it matters:

Instant crowd cue — shorthand for “this is about to get messy.”

“Bailando Cumbia” (Danny Osuna)

Where it plays:

Local-flavor source at a gathering (diegetic), adding regional color to the social fabric.

Why it matters:

Sets place and community without exposition.

“Knull & Void” (Czarface feat. Frankie Pullitzer & Method Man)

Where it plays:

Associated with marketing/compilations and franchise-themed playlists; thematically nods to the symbiote god.

Why it matters:

Hip-hop world-building around the lore’s new big bad.

Score highlights — Dan Deacon

Where it plays:

“Knull’s Order” knits dread in under 90 seconds; “Lab Battle” slams percussive synth with brass punches; “Sky Dive” goes breathless arpeggio->string surge; “Phoning Home” softens into unexpected poignancy.

Why it matters:

Deacon threads electronic musculature with concise orchestral stabs — kinetic, witty, and scene-serving.

Notes & Trivia

• Composer switch-up: After Göransson (2018) and Beltrami (2021), Venom 3 brings in Dan Deacon — his first Venom score.
• Label & format: The score album is a Sony Classical digital release (28 tracks, ~57:27).
• Trailer sound: Marketing leaned on Cat Stevens’ “Wild World” (and an “epic/cover” variant); other trailers riffed on Bowie’s “Space Oddity.”
• Original single: “One Last Dance” — Tom Morello with Roman Morello & grandson — dropped day-and-date with the film.
• Montage choice: The finale’s “Memories” needle-drop reframes the trilogy — a choice several outlets spotlighted in their soundtrack guides.

Reception & Quotes

Reactions called the score nervy and propulsive, with the song choices doing precise character work — fewer drops, bigger impact.

“Deacon fuses bold electronic kinetics with emotional orchestral swells — the trilogy’s freshest musical identity.” Filmtracks (review)

“Two collaborators finding one tone — playful, anxious, then unexpectedly tender.” Interview coverage around composer/director pairing

Availability: Score album streaming on the usual platforms; film released theatrically October 25, 2024, with home/streaming windows following in late 2024–early 2025.

Interesting Facts

• Knull on the horizon: Cue titles (“Knull’s Order”) telegraph lore the movie tees up for future SSU stories.
• Short-form cues: Most tracks clock 1–3 minutes — built to snap to comedy, horror, or action on a cut.
• Diegetic fun: The Bowie and ABBA moments are played in-scene, not just over montage — rare for modern superhero films.
• Credits curation: The credits stack runs like a mini-playlist: Morello’s original, pop smash tags, and cover variants depending on region.
• Series arc: Each film’s music identity is distinct — Göransson’s muscular alien noir, Beltrami’s carnage crunch, Deacon’s nervy synth-orchestral hybrid.

Technical Info

• Title: Venom: The Last Dance (Original Motion Picture Soundtrack)
• Year: 2024 (album & film released October 25, 2024)
• Type: Film soundtrack — original score + selected licensed songs
• Composer: Dan Deacon
• Label: Sony Classical (digital release; 28 tracks; ~57:27)
• Selected notable placements (on screen): “Don’t Stop Me Now” — Eddie’s “Venom horse” gag; “Space Oddity” — campfire acoustic sing-along; “Wild World” — Vegas drive beat; “Dancing Queen” — Venom dances with Mrs. Chen; Finale montage — “Memories”; Credits — “One Last Dance”; post-credits window — “I Had Some Help.”
• Trailers: “Wild World” (Cat Stevens) and “Space Oddity” (epic/cover variants) featured in marketing.

Questions & Answers

Who composed the score for Venom: The Last Dance?

Dan Deacon — his 28-track score album released via Sony Classical on October 25, 2024.

What’s the song in the trailers?

“Wild World” (Cat Stevens) leads the main trailers; an “epic” cover of “Space Oddity” also circulated in marketing.

Which song plays over the final montage?

Maroon 5’s “Memories.” It accompanies a franchise-spanning look back at Eddie & Venom.

Is there an original single tied to the movie?

Yes — “One Last Dance,” by Tom Morello with Roman Morello & grandson, plays in the credits.

Album vs. film: do all songs appear on the album?

No. The retail album is Deacon’s score; the licensed songs are in-film only (and on platform playlists).

Key Contributors

Sources: Wikipedia (film & soundtrack entries); Film Music Reporter (assignment & release details); Apple Music & Spotify (album page & cue list); IMDb Soundtracks; NME & RadioTimes soundtrack guides; Filmtracks review; Sony Pictures trailer.

November, 20th 2025