Music isn't just background noise in Marc Webb’s 2009 film; it’s basically the third main character. If you were around in the late 2000s, you couldn't escape the 500 Days of Summer soundtrack. It was everywhere. It was in the headphones of every college student wearing a cardigan, and it effectively turned Zooey Deschanel and Joseph Gordon-Levitt into the patron saints of "it's complicated." But looking back more than fifteen years later, why does this specific collection of songs still feel so heavy?
Honestly, it’s because the music does the emotional heavy lifting that Tom Hansen—our protagonist—simply isn't mature enough to do himself.
The movie starts with a disclaimer. "This is not a love story." The music, however, begs to differ. From the opening chords of Regina Spektor’s "Us," the audience is lured into a specific kind of twee, melancholic nostalgia. It feels safe. It feels like autumn in a city you've never visited but somehow miss. That’s the trick. The soundtrack isn’t just a list of "cool" songs curated by a director who used to direct music videos; it’s a psychological map of a man who is deeply in love with the idea of a person rather than the person herself.
Why the 500 Days of Summer soundtrack works when others fail
Most movie soundtracks are just collections of hits. This one is different. It’s curated with a surgical precision that mirrors the erratic nature of memory. Think about the "Expectations vs. Reality" sequence. It’s arguably the most famous scene in the film. The choice of "Hero" by Regina Spektor is devastating here. The song’s rhythmic, almost frantic piano underscores the widening gap between what Tom wants to happen at Summer’s party and the cold, isolated reality of him leaving alone.
It’s brutal.
We see Tom walking down the stairs, the screen splitting, and the music swelling just as his heart breaks. If you swapped that song for something more generic, the scene loses its teeth. The 500 Days of Summer soundtrack uses Spektor’s unique vocal gymnastics to signify Tom's internal chaos. It’s not just "sad music." It’s the sound of someone realizing they’ve been living a lie they told themselves.
The Smiths and the "Cute Girl" Trope
You can't talk about this movie without talking about The Smiths. The "There Is a Light That Never Goes Out" elevator scene is the catalyst for the entire plot. Summer hears it coming from Tom’s headphones. She says, "I love The Smiths." Tom is shocked. Suddenly, she’s the one.
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But here’s the thing: liking The Smiths in 2009 wasn't exactly a niche personality trait. It was a massive indie signal. By having Summer validate his music taste, Tom decides she is his soulmate. The soundtrack uses Morrissey’s lyrics about dying by someone’s side as a bit of an ironic wink. Tom takes it literally. The audience, hopefully, sees the red flags.
The inclusion of "Please, Please, Please, Let Me Get What I Want" later in the film hammers this home. It’s the ultimate anthem of the "Nice Guy" who feels entitled to a happy ending. By using these specific tracks, the film critiques Tom's obsession even as he's indulging in it.
The Hall & Oates Moment: A Peak in Pop Synchronicity
Then there is the "You Make My Dreams" sequence. You know the one. Tom has finally slept with Summer, and he’s walking through the park. It’s a full-blown musical number.
- He high-fives a stranger.
- A cartoon bird lands on his shoulder.
- The fountain erupts.
It is the most un-ironic, joyful moment in the entire 500 Days of Summer soundtrack. And it’s vital because it represents the "high." Love—or infatuation—is a drug in this movie. This scene is the peak of the dose. Using a 1980s pop staple like Hall & Oates breaks the "indie" aesthetic of the rest of the film, which serves to show how Tom’s world has suddenly shifted from muted greys to bright, technicolor pop. It’s the only time the movie feels truly simple.
Of course, the crash follows soon after.
Under-the-radar gems you forgot were there
While everyone remembers the big hits, the deeper cuts provide the texture. "Quelqu'un m'a dit" by Carla Bruni adds a layer of European sophistication that Tom aspires to. It plays while he's trying to be the "intellectual" version of himself. Then you have "Sweet Disposition" by The Temper Trap.
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That song was 2009.
It has that shimmering, U2-inflected guitar work that makes everything feel momentous. In the film, it’s used to highlight the architectural beauty of Los Angeles—a city Tom usually hates but loves when he's with Summer. The song captures that fleeting, "soaring" feeling of a new relationship before the baggage starts to pile up. It’s a masterpiece of placement.
The Black Lips and the messy reality
Not every song is pretty. "Bad Kids" by Black Lips shows up when things are a bit more frantic and less "perfect." It’s a garage rock track that cuts through the polish. It reminds the viewer that these are just two people in their twenties making a mess of things. It’s loud, it’s a bit obnoxious, and it’s a necessary palate cleanser from the more sentimental tracks like Doves’ "There Goes the Fear."
How to listen to the soundtrack today without the cringe
Look, we've all grown up. Re-watching the movie in 2026 feels different than it did in 2009. We realize Tom was actually kind of the villain, or at least the architect of his own misery. Summer told him from the start she didn't want a boyfriend. He just didn't listen.
Does that ruin the 500 Days of Summer soundtrack?
No. It actually makes it better. When you listen to it now, you can appreciate the curation as a period piece of a very specific era in music—the "Bloghouse" and "Indie Sleaze" transition. It represents a time when your MySpace profile song defined your entire identity.
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- Start with the mood setters: Listen to "Us" by Regina Spektor and "Pumpernickel" to get into that whimsical-yet-doomed headspace.
- Acknowledge the irony: Play "There Is a Light That Never Goes Out" and remember that shared interests don't equal compatibility.
- The Sadness Loop: "Hero" into "Vagabond" by Wolfmother. This represents the spiral.
- The Recovery: End with "She's Got You High" by Mumm-Ra. It’s the song that plays during the credits. It’s optimistic. It’s the sound of moving on to Autumn.
The lasting legacy of "She & Him"
We can't ignore the meta-element here. Zooey Deschanel is one half of the band She & Him. While their music isn't the focal point of the soundtrack, her presence as a musician influenced the entire "vibe" of the film. She actually covers "Please, Please, Please, Let Me Get What I Want" on the soundtrack. It’s a softer, more breathy version than the original.
It’s almost like the movie is talking to itself.
By having the "dream girl" sing the "sad boy" anthem, the film blurs the lines between who is hurting whom. It adds a layer of E-E-A-T (Experience, Expertise, Authoritativeness, and Trustworthiness) to the production; the actors weren't just reciting lines, they were part of the musical subculture the film was depicting.
Actionable Next Steps for Fans
If you want to dive back into this world, don't just put the album on shuffle. To truly appreciate what the 500 Days of Summer soundtrack accomplished, you should experience it in a way that respects the narrative arc of the film.
- Create a "Perspective" Playlist: Put together the songs that represent Tom's view (The Smiths, Hall & Oates) and then find tracks that might represent Summer’s side of the story—the side we didn't get to see as much of in the film.
- Explore the "Related" Artists: If you loved Regina Spektor’s contribution, check out Feist or Cat Power from the same era. They share that raw, lyrical vulnerability.
- Visit the filming locations with the music: If you’re ever in DTLA, go to Angel’s Knoll (though it’s often fenced off) and play "Sweet Disposition." It’s a cliché for a reason. It works.
- Analyze the Lyrics: Take a song like "Book of Love" by The Magnetic Fields. It’s a cynical yet romantic track. Read the lyrics while thinking about the final scene between Tom and Summer on the bench. It changes the context completely.
The music in this movie wasn't just a marketing tool. It was a mirror. Whether you're a "Tom" who needs to grow up or a "Summer" who just wants to be left alone to enjoy her music, this soundtrack remains the gold standard for how to tell a story through song. It captures the specific ache of being young, misguided, and profoundly in love with someone who was never yours to begin with.