DreamWorks Animation’s ‘The Bad Guys 2‘ sets out not only to extend the caper comedy’s irrepressibly stylish world but also to elevate its musical identity to cinematic heights. Backed by the return of Oscar®-nominated composer Daniel Pemberton—known for the propulsive scores of ‘Spider-Man: Into the Spider-Verse’ and ‘The Man from U.N.C.L.E.’—the sequel’s sonic palette is both inventive and bold. The film’s soundtrack, released by Back Lot Music and available for streaming, features not only Pemberton’s dynamic scores, but also new original songs crafted with global collaborators, such as Rag’n’Bone Man and Busta Rhymes.
Music as Character Driver
From its first scene, ‘The Bad Guys 2’ flaunts music not merely as mood-setter, but as a central force shaping tone, character, and kinetic comic pacing. The movie’s globe-trotting plot—encompassing everything from Egyptian rooftops to lucha libre arenas and even space—demands a versatile, ever-evolving musical approach. Pemberton crafts tracks in layers, gradually building each piece with guitars, drums, string sections, and innovative electronics. This technique reflects the film’s multilayered visual storytelling, yielding a score that pulses with personality and change.
GOODLIFE (Rag’n’Bone Man feat. WizTheMc)
In the film:
‘GOODLIFE’ explodes with swagger during the film’s opening heist montage, instantly reestablishing the reformed animal criminals’ camaraderie and giving audiences a burst of upbeat, soulful energy. As Rag’n’Bone Man and WizTheMc trade verses, the visuals zip through daring action and comic banter, tightly synced to the track’s infectious hooks.
Trivia:
This original song was written by Daniel Pemberton with Gary Go and Sanele David Sydow, and produced for the film’s promotional campaign. Its release led the marketing, energizing trailers and TikTok edits alike. Pemberton’s production brings an old-school soul influence into the contemporary pop landscape, signaling the film’s intent to bridge classic and modern score traditions. The song’s extended and Super Extended Mix versions—also on the official album—further develop its thematic motifs into broader score cues.
Taking Everything (Busta Rhymes)
In the film:
During a high-stakes escape through neon-lit Cairo, ‘Taking Everything’ sets the tempo for the Bad Guys’ split-second maneuvers. Busta Rhymes’ trademark rapid-fire delivery and the frantic, syncopated backing bleed seamlessly into Pemberton’s orchestration, giving the sequence a breakneck edge that amplifies both danger and slapstick.
Trivia:
The song, co-written by Pemberton and Busta Rhymes (aka Trevor Smith Jr.), merges the composer’s cinematic touch with Conglomerate Entertainment’s urban swagger. Its “film mix” adapts the single to the rhythm of the chase scene—timing drops and lyrical refrains to key visual beats.superherohype+2
Cairo, Five Years Ago
In the film:
This moody, atmospheric cue anchors a flashback that unearths the backstory of the new antagonists: The Bad Girls. Pemberton weaves in Middle Eastern melodies atop suspenseful string textures, drawing the audience into the intrigue that sets the sequel’s narrative in motion.
Trivia:
The track showcases Pemberton’s willingness to venture into new musical territories, mirroring the film’s literal and thematic expansion around the globe. It highlights his skill at blending classic film noir influences with contemporary, world-music-infused electronics.
Lucha Lucha
In the film:
As the Bad Guys are forced into an over-the-top lucha libre wrestling spectacle, ‘Lucha Lucha’ bursts with bravado. Layered trumpets, percussion, and a teasing waltz of electric guitars provide irrepressible energy and comic color.
Trivia:
This sequence’s musical style draws on classic lucha libre scores and playful mariachi, underlining the film’s capacity for rapid genre-hopping. The cue builds in live-recorded flourishes thanks to Pemberton’s collaborative, improvisatory production style.
The Wedding Plan
In the film:
Beneath the comic chaos of a staged wedding (doubling as an undercover sting), this cue spirals from faux-classical piano to bombastic orchestration and back again, echoing the switching emotions on screen.
Trivia:
Pemberton uses this track to parody and pay homage to classic Hollywood wedding set pieces, sometimes quoting ‘The Wedding March’ before twisting the melody into mischief. It is both loving pastiche and a skills showcase for the orchestra.
MoonX Countdown
In the film:
As the heist careens toward a risky finale involving a stolen rocket and a nail-biting countdown, ‘MoonX Countdown’ supplies tense, ticking motifs alongside swelling string runs and bold, brassy stabs.
Trivia:
The use of synchronized percussion and rising electronic patterns is quintessential Pemberton—blurring action scoring’s boundaries with clubs and EDM while staying rooted in orchestral drama. It marks one of the film’s most ambitious musical set pieces.
GOODLIFE (Super Extended Mix)
In the film:
Heard over the end credits, this extended remix ties together main themes and character motifs, sending audiences out with a euphoric reprise.
Trivia:
Pemberton, Rag’n’Bone Man, and WizTheMc reimagined the track for a lengthier, cinematic close—expanding bridges and instrumental breakdowns, and integrating instrumental segments from throughout the score. This version became a streaming favorite, singled out for its dynamic structure and rich layers.
Classic Needle Drops and Score Cues
Aside from its original songs and score, ‘The Bad Guys 2’ peppers its soundtrack with high-profile licensed music, including:
- ‘Espresso’ performed by Sabrina Carpenter(used in a lively chase-and-recon scene)
- ‘Shake Your Groove Thing’ by Peaches & Herb (dance-off montage)
- ‘Crimson & Clover’ by Tommy James & the Shondells (dream sequence)
- ‘Chicken Dance’ performed by The Starsound Orchestra (comic interlude)
Composer Daniel Pemberton
Pemberton’s return to ‘The Bad Guys’ franchise signals DreamWorks’ commitment to music as a storytelling centerpiece. Interviews and social media posts from the composer reveal a process defined by fearless experimentation. Pemberton builds cues in sequential layers—starting with guitars, adding rhythm and winds, finally culminating in lush, live orchestral sessions that deliver energy and nuance rarely matched in animated cinema. This tactile production style closely follows the process of animation itself, lending each cue a sense of momentum and surprise sympathetic to the film’s visual inventiveness.
