Why some musical theatre songs keep playing long after the curtain falls
It’s a strange little thing. One leaves the theatre humming a tune, and days later it’s still there. Not all musical numbers do that. Some land hard and disappear. Others quietly become part of one’s life. So, what is it that gives a theatre song that kind of staying power?
Turns out, there’s actually some data behind it. A new study by London Theatre Direct took a deep dive into over 2,000 musical theatre tracks on Spotify and tried to make sense of what makes some songs break out beyond the stage. It’s less about one perfect formula and more about how a few key traits show up again and again.
Not built for the charts – but that’s the point
Most musical theatre songs aren’t designed to top radio charts. They are composed to serve a scene, support a character, and help tell a story. The study indicates that the average track is relatively low in energy and high in acoustic elements. It prioritises clarity over catchiness, which is logical considering the amount of information a single song might need to deliver on stage.
They’re not really meant to stand on their own. But then, some do. And that’s when it gets interesting.
When a theatre song goes viral
Some songs just hit differently. “Alexander Hamilton” is a good example – spoken-word heavy, fast-paced, and totally breaking with the traditional musical structure. Or “Don’t Lose Ur Head” from Six, which leans fully into modern pop, catchy hooks, and high energy. These songs don’t follow the average blueprint. They bend it.
They’re usually the ones that come at dramatic turning points. They pack emotion, feel self-contained, and blend styles in a way that makes them easy to listen to, even if one has never seen the show. It’s not unusual to hear bits of gospel, rap, pop, or rock in the same musical. The genre lines have blurred.
Streaming changed the game
The way we hear these songs has changed too. Cast recordings used to live on CDs or maybe vinyl. Now they’re everywhere – shared in stories, added to workout playlists, played alone in headphones on a walk home. Additionally, streaming platforms provide feedback that live theatre cannot. Instead of applause, there are repeat listens. This tells a different story.
A song doesn’t need to bring down the house. It just has to make someone press play again.
Hooks, feelings and familiarity
There’s no secret formula, but some patterns are clear. The songs people return to the most tend to have high emotional impact. They don’t try to do everything – they do one or two things really well. A strong hook. A big build. Or a chorus that’s easy to sing along with.
“Defying Gravity” builds slowly, gets loud, and doesn’t apologise for it. “Seasons of Love” stays soft and simple, but it hits with a theme everyone understands. Even “Time Warp,” which feels like a party, sticks because it’s interactive and joyful. These songs hold onto a feeling and stay there long enough for it to land.
Writers who keep getting it right
Some names just come up again and again. Andrew Lloyd Webber. Stephen Sondheim. Their styles couldn’t be more different, but they both understood the emotional weight a song can carry. Whether it’s the layered wit of “Into the Woods” or the full-throttle drama of “Jesus Christ Superstar,” these writers knew how to give a character a voice that people remember.
And modern composers are picking up that thread, often writing with both the stage and the stream in mind.
What listeners are really after
People don’t fall in love with a theatre song because it checks boxes. They love it because it speaks to something they feel. Maybe it’s freedom, like in “Elphaba’s” big moment. Maybe it’s sadness, or hope, or just a well-timed laugh. When a line hits the right nerve, it stays.
So, if one ever finds themselves listening to a show tune long after the plot has been forgotten, it’s a common experience. That’s the sign of a song that worked. One that wasn’t just part of the show – it became part of the listener’s experience.
The editorial unit
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