"Yes Day" Soundtrack Lyrics

“Yes Day (Netflix Film Soundtrack & Songs)” – Album Guide to Tracks and Key Scenes

Overview

What does saying “yes” sound like? In Yes Day, it’s foam cannons, Ferris wheels, and a stage crash — stitched together by pop, punk, R&B, and a grinning original single. The soundtrack is built like the day itself: fast, bright, and always two steps away from getting out of hand.

Composer Michael Andrews keeps a friendly, kinetic score under the licensed cuts so scenes can pivot quickly from slapstick to sweetness. Around that, the selections ping-pong across decades — Ramones to H.E.R., Queen to Saint Motel — so each generation in the Torres family gets a wink. It’s not a mixtape for collectors; it’s a playlist for participation.

Across the arc — arrival → adaptation → rebellion → collapse — the styles map neatly: old-school rock for rule-setting, bubblegum for kid-chaos, blog-era pop for montage momentum, then contemporary R&B for the festival catharsis. The result feels like a family’s shared queue: messy, joyful, and surprisingly cohesive.

How It Was Made

Yes Day is a Netflix original directed by Miguel Arteta with an original score by Michael Andrews. Music supervision was led by Stephanie Diaz-Matos, whose brief favored recognizable crowd-pleasers and in-world performances. H.E.R. appears on-screen at Fleek Fest, tying the soundtrack’s teen POV directly to the film’s biggest set piece. And because Netflix leaned into shareability, an official playlist mirrored the film’s cue list with a few region-available swaps.

Saint Motel contributed the breezy one-off “Feel Good (From the Netflix Film YES DAY)” — the tune that literally slows time as the family enters the theme park — while the rest of the catalog choices were cleared to maximize diegetic fun (car stereos, jukebox moments, live stages). As a result, much of the music is heard where real families actually hear it.

Tracks & Scenes

“Another One Bites the Dust” — Queen
Where it plays: ~0:02 The prologue montage of Allison shutting down kid shenanigans — rooftop brinkmanship, confiscated phones, the whole “no” era — hits to that instantly strutting bassline (non-diegetic montage).
Why it matters: Establishes the pre–Yes Day baseline: order, firmness, and a beat the kids want to outrun.

“I Am a Gummy Bear (The Gummy Bear Song)” — Gummibär
Where it plays: ~0:05 In the car, Carlos blasts candy-coated Euro-bubblegum and duets with Ellie. The camera bounces with them (diegetic stereo).
Why it matters: Dad’s the “yes” energy in miniature — goofy, permissive, and all-in.

“Epic” — Faith No More
Where it plays: ~0:07 The car singalong pivots to rap-rock catharsis as they pound the dashboard in sync. (diegetic).
Why it matters: Locks the parent–kid bond in rhythm — their shared joke language.

“Lifesblood” — IKILLYA
Where it plays: ~0:08 Carlos barges into a test room where a couple rocks out behind glass; he kills the metal mid-riff, deadpan. (source in-scene).
Why it matters: One of several “grown-up” sound bubbles the film pricks for a laugh.

“Ready Let’s Go” — DARKMINDS
Where it plays: ~0:19 Montage energy as the family preps for the big day: chores finished, routines tightened, the rules posted on the fridge (non-diegetic).
Why it matters: Gives the “contract” some propulsion — earned fun, not chaos-for-chaos’ sake.

“Slide” — H.E.R. feat. YG
Where it plays: ~0:23 Low in the car background while siblings negotiate terms and side quests (diegetic bleed).
Why it matters: A modern teen pulse at family volume — Katie’s world is always nearby.

“We’re a Happy Family” — Ramones
Where it plays: ~0:28 At the car wash dare, the kids order windows down; suds flood in; everyone shrieks and laughs. (diegetic over PA/ speakers).
Why it matters: Punk as slapstick — the album’s most on-the-nose joke cue, and it lands.

“Feel Good (From the Netflix Film YES DAY)” — Saint Motel
Where it plays: ~0:46 Slow-motion hero walk into the theme park gives way to roller-coaster cuts and shared smiles (non-diegetic needle-drop).
Why it matters: The film’s signature sugar rush — a bespoke anthem for saying yes.

“Roses (Imanbek Remix)” — SAINt JHN
Where it plays: ~1:00 Katie slips into Fleek Fest’s crush of lights and bodies; the remixed hook bounces across the field (diegetic festival playback).
Why it matters: Signals the risky thrill of autonomy without an adult in sight.

“Catamaran” — Allah-Las
Where it plays: ~1:03 Allison — trailed by a huffing cop — threads the festival crowd as the band performs onstage (diegetic live performance/cameo).
Why it matters: A true in-world set, not wallpaper, sharpening the “mom invades teen space” comedy.

“Best Day of My Life” — American Authors
Where it plays: ~1:06 Back home, the foam party gets out of hand; pink bubbles bloom down the hall while kids cheer (non-diegetic montage).
Why it matters: Irony on tap — title vs. parental nightmare.

“Half Life” — GIVERS
Where it plays: ~1:09 Carlos arrives to chaos; the camera tracks him through the suds as he tries to take control (non-diegetic/scene bed).
Why it matters: A wake-up groove as he switches from “fun dad” to actual adult.

“Baby I Need Your Loving” — The Four Tops (staged renditions)
Where it plays: ~1:12–1:15 Allison jumps on stage to find Katie; H.E.R. invites her to keep singing; Katie joins. Three voices, one classic, big reconciliation vibes (diegetic live performance).
Why it matters: The film’s emotional handshake — mother, daughter, and idol share a mic.

“I Just Wanna Shine” — Fitz & The Tantrums
Where it plays: ~1:19 Plays into credits: clean-up, cuddles, and the last goofy request of the day (non-diegetic).
Why it matters: Afterglow music for a family that survived its own experiment.

Trailer notes: The official Netflix trailer sells the premise with score hits and a quick cut of the theme-park anthem rather than a single “trailer song.”

Notes & Trivia

• The original score is by Michael Andrews, whose melodic, playful cues cushion the stuntier needle-drops.
• H.E.R. appears as herself at Fleek Fest and shares a live rendition of “Baby I Need Your Loving” with Jennifer Garner and Jenna Ortega.
• Saint Motel released the original single “Feel Good (From the Netflix Film YES DAY)” to accompany the film’s debut.
• Allah-Las cameo onstage, performing “Catamaran” inside the festival sequence.
• There’s no single “OST album”; Netflix pushed an official playlist instead.

Music–Story Links

Car-stereo singalongs (“Gummy Bear,” “Epic”) literalize the movie’s thesis: participation cures grumpiness. When the stakes rise, newer cuts (“Roses,” “Slide”) place us inside Katie’s sonic world, so her solo wander feels exhilarating and unsafe at once. At the stage, a Motown standard becomes a bridge between generations — H.E.R. as cool catalyst, mom as once-and-future yes-sayer. The last cues dial the pulse down so the lesson can land: say yes to time together.

Reception & Quotes

Critics called the soundtrack a bright, family-friendly grab bag with a few smart needle-drops; fans treated the playlist like a ready-made car mix. According to ScreenRant, the choices lean rock & modern R&B, saving the chill for late-act scenes. And per Netflix’s official playlist, the selections track closely to what you hear on-screen.

“A soundtrack built for participation, not prestige.” Family-film roundups

“Then again, it’s nothing that a little concert cameo by mom can’t fix.” Variety

“Cheery and chaotic, like a kid’s birthday on shuffle.” Viewer reactions

Interesting Facts

• “Feel Good” was issued as a stand-alone single with the film’s title baked into the metadata.
• The festival name is “Fleek Fest” onscreen — a teen-culture in-joke the script leans into.
• “Best Day of My Life” scores the exact opposite for the parents — deliberate irony for the foam fiasco.
• Yes Day is based on Amy Krouse Rosenthal & Tom Lichtenheld’s picture book; the film amps up the music to make it a shared activity.
• Allah-Las’ surf-jangle keeps the festival sequence airy while the search stays tense.

Technical Info

• Title: Yes Day — (Netflix) Film Soundtrack & Songs
• Year: 2021
• Type: Compilation of licensed songs + original score
• Composer: Michael Andrews
• Music supervision: Stephanie Diaz-Matos
• Selected notable placements: Queen “Another One Bites the Dust” (rule-setting montage); Gummibär “Gummy Bear Song” & Faith No More “Epic” (car singalongs); Saint Motel “Feel Good” (theme-park entry); SAINt JHN “Roses (Imanbek Remix)” (Fleek Fest teens); Allah-Las “Catamaran” (live cameo); Four Tops classic “Baby I Need Your Loving” (H.E.R. + Garner + Ortega, stage); Fitz & The Tantrums “I Just Wanna Shine” (credits).
• Release context: Netflix premiere March 12, 2021; no official OST album — single + official playlist.
• Label/album status: Saint Motel issued “Feel Good (From the Netflix Film YES DAY)” as a digital single; playlist hosted by Netflix.
• Trailer Video ID: Y-3Vr8Ut8d0 (Netflix)

Questions & Answers

Is there an official Yes Day soundtrack album?

No single OST album — instead, an official Netflix playlist mirrors the cues, and Saint Motel released the original single “Feel Good.”

Who wrote the score?

Michael Andrews composed the original score, which underpins quieter and transitional scenes.

What song plays when the family enters the theme park?

Saint Motel’s “Feel Good (From the Netflix Film YES DAY).” It’s the movie’s big joy cue.

Does a real artist appear in the film?

Yes — H.E.R. performs onstage at Fleek Fest and duets “Baby I Need Your Loving” with Jennifer Garner, later joined by Jenna Ortega.

Where can I find all the songs in order?

The Netflix “YES DAY Official Playlist” organizes the major tracks; several sites also list scenes and timestamps.

Canonical Entities & Relations

Sources: ScreenRant; SoundtrackRadar; Netflix official playlist; Metacritic credits; Wikipedia film entry; Variety review; IMDb soundtrack.

According to ScreenRant, the film’s mix leans rock and modern R&B; per the Netflix playlist, cues align with on-screen order; per Metacritic’s credits, Stephanie Diaz-Matos is music supervisor; according to Wikipedia, H.E.R. appears onstage and “Baby I Need Your Loving” is performed in-film.

November, 19th 2025