If you walked out of the theater after watching Anyone But You and didn't immediately have "Unwritten" stuck in your head, were you even watching the same movie? Sydney Sweeney and Glen Powell’s chemistry was the main draw, sure, but the music basically acted as a third lead character. While everyone is talking about the Natasha Bedingfield revival, there’s a whole layer of sound underneath that most people just kind of breeze past.
Basically, there are two "soundtracks" here. You’ve got the needle drops—the catchy pop songs that make you want to book a flight to Australia—and then you have the official este haim anyone but you original motion picture soundtrack songs composed by Este Haim and Christopher Stracey.
Honestly, the score is where the real magic happens if you’re looking for the film's actual heartbeat.
The Vibe Shift: Why Este Haim and Christopher Stracey Matter
Most people know Este Haim as the bass-slapping powerhouse from HAIM. But she’s quietly becoming a heavy hitter in the world of film scoring. Partnering up with Christopher Stracey, she didn't just dump some generic background noise into this rom-com. They created something that feels like that nervous, fluttering feeling you get when you’re falling for someone you’re supposed to hate.
The official score album is short. Like, really short. We’re talking 11 tracks that run for about 17 minutes total. It’s lean, but it’s packed with these shimmering synth arrangements and string sections that feel incredibly modern.
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Every Track on the Official Score Album
If you go looking for the official "Original Motion Picture Soundtrack" by Este Haim and Christopher Stracey on Spotify or Apple Music, these are the titles you’ll find:
- Starry Eyed and Falling in Love – This one sets the tone. It’s light, airy, and a little bit magical.
- Wedding Weekend – You can practically feel the awkwardness of the destination wedding vibes here.
- My Heart Beats to These Stick Clicks – A quirky title for a quirky track. It’s rhythmic and builds that tension between Ben and Bea.
- This is Not a Drill – A fast-paced, 56-second burst of energy.
- What Does Love Sound Like? – One of the longer tracks (if you consider two and a half minutes long), and it’s arguably the most melodic.
- Running So Fast I Can’t Catch My Breath – Captures that chaotic energy of the movie's many chase-and-flee moments.
- I’m Not Blushing – Soft, synth-heavy, and definitely leaning into the "hidden feelings" trope.
- Funk On – Short and punchy.
- I Love You, You Idiot – The classic rom-com realization moment in musical form.
- I Hear a Symphony – Not a cover, but a beautiful instrumental piece.
- Couldn't Find A Moving Train – The closing piece of the score that ties everything together.
It's interesting because the score doesn't try to compete with the big pop hits. Instead, it bridges the gap between the scenes where the characters are yelling at each other and the scenes where they’re... well, you know.
The Elephant in the Room: That "Unwritten" Phenomenon
You can't talk about the este haim anyone but you original motion picture soundtrack songs without mentioning the song that isn't actually on the Haim/Stracey score album but defines the whole movie. Natasha Bedingfield’s "Unwritten" is Ben’s "serenity song."
It's kind of hilarious. This 2004 track became a viral sensation all over again because of this movie. It’s used as a psychological tool for Glen Powell’s character to calm down, and by the end of the film, the entire cast is singing it during the credits. It’s the ultimate "guilty pleasure" song that nobody should actually feel guilty about.
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"It really feels like Anyone But You is about 'Unwritten,' like 'Unwritten' is almost a character in the movie." — Natasha Bedingfield in a 2024 interview with PEOPLE.
The Pop Hits That Filled the Gaps
Beyond the score, the movie is a goldmine for indie-pop fans. The music supervision here was top-tier. They pulled in tracks that felt like a summer vacation. If you're looking for the songs that played during the party scenes or the boat rides, you're looking for these:
- "The Spins" by Mac Miller – The ultimate party starter.
- "Photo ID" by Remi Wolf & Dominic Fike – This fits the "modern rom-com" aesthetic perfectly.
- "Got Me Started" by Troye Sivan – A nice nod to the Australian setting.
- "Anyone But You" by Still Woozy – This was written specifically for the film and serves as the title track.
- "Sympathy" by Declan McKenna – High energy and super catchy.
It’s a weirdly perfect mix. You have the indie-sleaze vibes of Still Woozy and Remi Wolf clashing with the orchestral-synth hybrid of Este Haim. It shouldn't work, but it does.
Why This Soundtrack Hits Different
Usually, rom-com scores are forgettable. You get some acoustic guitar, maybe a piano ballad, and you're done. But Este Haim and Christopher Stracey did something different. They used "non-traditional" ways of playing instruments—think weird harmonics on violins and cellos that sound like ghosts, but, you know, happy romantic ghosts.
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They’ve worked together before on Cha Cha Real Smooth and Maid, so they have this shorthand. They know how to make music that sounds like a thought process. When you listen to "My Heart Beats to These Stick Clicks," it doesn't sound like a "song." It sounds like a heart rate spiking. That’s the genius of it.
Getting the Most Out of the Music
If you want to actually "experience" the music from the film, don't just put on a random playlist.
Start with the Still Woozy track "Anyone But You" to get into the mood. Then, dive into the Este Haim and Christopher Stracey score if you want to relive the actual emotional beats of the story. Save "Unwritten" for the very end when you're ready to shout the lyrics in your car.
Check out the official score on your favorite streaming platform—it’s listed under Anyone But You (Original Motion Picture Soundtrack) by Este Haim & Christopher Stracey. If you're more into the pop side, look for the "inspired by" or "music from" playlists, as they contain the Remi Wolf and Mac Miller tracks that aren't on the official score release.
For those who really want to dig deep into the production, look for the credits involving Brian Bender (who mixed the score) and Wende Crowley (the music supervisor). They’re the ones who made sure the transition from a 20-year-old pop song to a modern synth score felt seamless.