Big, bombastic, boring; that summarizes the orchestral score of the latest Hunger Games film. It is not often that a movie has a soundtrack of such varied quality. “A Ballad of Songbirds and Snakes” was released on Nov. 17 and quickly became a commercial and critical success. At the core of the film was its music, which was used as a storytelling and plot device to drive the film forward. The difference in quality between the film’s sung music and its supporting soundtrack is apparent.
Featuring songs written by Flatland Cavalry, Charles Wesley Godwin, Sierra Ferrell, Billy Strings, Molly Tuttle, Bella White and The Covey Band; there is no doubt that “A Ballad of Songbirds and Snakes” sets a high bar for film music moving forward. In addition, the movie featured a single by pop singer Olivia Rodrigo.
While the songs from the movie were excellent, the score backing them up did not accomplish anything new. For a film so driven by music, it is sad that the score does not do more beyond the standard “movie sound.”
The orchestral thunder of James Newton Howard’s score marries well with Lucy Gray’s songs, in which executive music producer Dave Cobb crafts rousing tunes around Collins’ lyrics, adding fire to the heroine’s rebel spirit.
— The Hollywood Reporter
Despite the disappointment of a score, the film’s sung music is not something to write off. Having taken inspiration from early American country music, and featuring songs from several up-and-coming country performers; these 17 tracks–with some exceptions–could be enjoyed outside the context of the film. Overall, these songs offer a great listening experience.
The soundtrack’s popularity speaks for itself. “Can’t Catch Me Now” by Olivia Rodrigo was released to critical acclaim, reaching over 81 million streams on Spotify shortly after release.
Adding to the soundtrack, Rachel Zegler brings a Broadway voice to her songs as Lucy Gray Baird. Although they lack context outside of the film, Zegler’s songs are worth listening to; she gives a compelling performance.
In addition to an already great performance, Zegler impressively recorded all of her songs live on set while cameras were rolling.
While the orchestral score of the movie does not innovate on the “movie sound”, it does mesh perfectly with the film’s vocal performances.
The Hollywood Reporter writes, “The orchestral thunder of James Newton Howard’s score marries well with Lucy Gray’s songs, in which executive music producer Dave Cobb crafts rousing tunes around Collins’ lyrics, adding fire to the heroine’s rebel spirit.”
The music is masterfully blended into the film, its country-inspired songs carrying forward the film’s plot while expanding on the characters and world of the movie.
“A Ballad of Songbirds and Snakes” certainly gives a different experience from the traditional movie soundtrack. It is because of that uniqueness that the soundtrack moves from being something average to being a well-performed country album.
It is without a doubt that the songs from “A Ballad of Songbirds and Snakes” deserve a listen.
