It’s easy to get lost in the neon-colored, glitter-infused madness of the Trolls franchise. When the first movie hit theaters back in 2016, "Can't Stop the Feeling!" was everywhere. Literally everywhere. You couldn't go to a grocery store or a wedding without hearing those opening synth pops. But honestly? The real gem of that entire musical project isn't the radio hit. It's the high-energy, weirdly experimental opening track: Hair Up by Justin Timberlake, featuring Gwen Stefani and Ron Funches.
Most people just see it as a kids' movie intro. That’s a mistake. If you actually sit down and listen to the production, it’s a fascinating piece of pop construction that bridges the gap between classical composition and modern trap beats. It's weird. It's loud. And it works.
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The Grieg Connection: Why the Melody Sounds So Familiar
You’ve heard this melody before. Even if you’ve never seen a single frame of a DreamWorks movie, your brain recognizes those first few notes. That is because Justin Timberlake and his production team—which included heavy hitters like Max Martin and Shellback—interpolated "In the Hall of the Mountain King."
Composed by Edvard Grieg in 1875 for the play Peer Gynt, the original piece is all about tension. It starts slow, creeping along like someone tiptoeing through a dark cave, and builds into a chaotic, crashing finale. Hair Up by Justin Timberlake takes that exact DNA and flips it. It keeps the "creeping" sensation but replaces the orchestral strings with heavy, 808-style percussion and synth stabs.
It's a bold move for a children's movie. Usually, these soundtracks play it safe with generic bubblegum pop. By using Grieg, Timberlake tapped into a "musical meme" that has existed for over a century. It gives the song an instant sense of drama. You feel like something big is happening. It’s a masterclass in using the Public Domain to create something that feels fresh yet nostalgic.
The track doesn't just sample the melody; it adopts the tempo-ramping structure of Grieg’s work. As the song progresses, the energy shifts. It’s frantic. Gwen Stefani’s vocals add this jagged, almost punk-rock edge to the chorus that balances out Timberlake’s smoother production style.
Breaking Down the Production: Max Martin and the "Trolls" Sound
Justin Timberlake wasn't just a voice actor for this film; he was the executive music producer. That gave him a lot of room to experiment. To get the sound right, he brought in the Swedish pop machine. We're talking about the guys responsible for almost every hit of the last thirty years.
Hair Up by Justin Timberlake isn't just a song; it's a mission statement for the film's aesthetic. The production is incredibly dense. If you listen with good headphones, you’ll hear layers of "boops," digital chirps, and heavily processed vocal harmonies. It mirrors the visual chaos of the Trolls' world.
- The Bassline: Unlike "Can't Stop the Feeling," which relies on a disco-funk bass, "Hair Up" uses a much more aggressive, distorted low end. It’s closer to what you’d hear in a club than a nursery.
- The Vocal Processing: Gwen Stefani’s voice is chopped and pitched in certain sections, acting more like an instrument than a lead vocal.
- The Rhythmic Shift: The song switches between a steady march and a chaotic, high-BPM dance track. It keeps the listener off-balance.
It’s actually kind of impressive how much "Hair Up" manages to cram into just under three minutes. Most pop songs are afraid of silence or sudden shifts in volume. This track thrives on them. It’s loud when it needs to be and eerie when it doesn’t.
Why Gwen Stefani Was the Perfect Choice
You can't talk about this song without mentioning Gwen. Her "Hollaback Girl" energy is all over this. Timberlake knew that he needed someone who could sound both authoritative and playful. Gwen has spent her entire career being the "cool girl" of pop-ska, and she brings that exact vibe here. When she shouts the titular line, it feels like a call to arms. It’s infectious.
The Cultural Impact: More Than Just a Movie Intro
When the song dropped, critics were somewhat divided. Some felt it was too "busy." Others realized that Timberlake was trying to elevate the "soundtrack song" genre. He wasn't just throwing away a B-side; he was crafting a specific sonic universe.
Hair Up by Justin Timberlake set the tone for how DreamWorks would handle music moving forward. They realized that parents have to listen to these songs 500 times on repeat. If the music is boring, parents go crazy. If the music has layers—like a Grieg interpolation or Gwen Stefani rapping over a trap beat—it stays tolerable for much longer.
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The song also saw a massive life on social media and YouTube. To date, the various uploads of the song and its accompanying dance sequences have racked up hundreds of millions of views. It became a staple in dance classes for kids because the rhythm is so easy to follow but the energy is high.
There's also the "Branch" factor. Timberlake’s character in the movie, Branch, starts off as a grumpy survivalist who hates music. The irony of the real-life Timberlake producing this high-octane dance anthem while playing a character who refuses to sing wasn't lost on fans. It added a layer of meta-humor to the entire rollout.
What Most People Get Wrong About Soundtrack Work
There is a common misconception that "work-for-hire" music in animated films is easy. People think you just show up, sing a hook, and collect a check. With Hair Up by Justin Timberlake, the reality was much more complex.
The technical challenge of syncing music to animation is immense. The beats have to hit exactly when the characters move. In the opening sequence where this song plays, the Trolls are escaping the Bergens. The music acts as a ticking clock. The "mountain king" melody provides that mechanical, relentless pace needed for a chase scene.
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Timberlake has spoken in interviews about the pressure of following up his previous solo successes with a movie project. He didn't want it to feel like "kids' music." He wanted it to feel like his music that just happened to be in a kids' movie. If you stripped the "Trolls" branding away, "Hair Up" could easily exist as a hype track for a sports broadcast or a high-fashion runway show.
Actionable Insights for Music Fans and Creators
If you’re a creator or just someone who loves diving deep into how music is made, there are a few things you can learn from the structure of this track.
- Study the Interpolation: Look at how Timberlake took a piece of music from 1875 and made it relevant. You don't always have to "invent" a melody. Sometimes, recontextualizing a classic is more effective.
- Layer Your Textures: Notice how many different "noises" are in the background. It’s not just drums and synths. There are organic sounds, clicks, and whispers. This creates depth.
- Don't Fear the Pivot: The song changes energy halfway through. Most modern pop stays at one level. Experiment with "ramping" your energy like Grieg did.
- Vocal as Percussion: Treat your vocals like a drum kit. In "Hair Up," the way Gwen and Justin deliver their lines is very percussive. They aren't just singing notes; they are hitting rhythms.
To really appreciate the song, try listening to it back-to-back with Grieg's original "In the Hall of the Mountain King." You'll start to see the "bones" of the pop song in the classical masterpiece. It's a great exercise in musical ear training.
Ultimately, Hair Up by Justin Timberlake stands as a testament to what happens when top-tier pop talent actually puts effort into a "commercial" project. It’s loud, it’s proud, and it’s a lot more sophisticated than the glittery surface suggests. Next time it comes on your "Kids' Party" playlist, don't just skip it. Listen to the 808s. Listen to the Grieg. It's actually pretty brilliant.