If you walked into a theater expecting a dusty Elizabethan tragedy, you’d be in for a shock within the first thirty seconds. This isn't your high school English teacher's Shakespeare. It's a neon-soaked, glitter-bombed reimagining of what happens when Juliet decides not to stab herself. But let’s be real: while the "what if" plot is fun, the real reason people are fighting for tickets is the & juliet song list.
It’s a jukebox musical, sure. However, it’s not just any jukebox. It is the back catalog of Max Martin, the Swedish songwriter who has basically dictated the sound of global pop for the last thirty years.
Honestly, it’s kind of ridiculous when you see the tracklist laid out. You’ve got Britney Spears, the Backstreet Boys, Katy Perry, and The Weeknd all shoved into one narrative. It shouldn't work. It should feel like a disjointed fever dream. Yet, because Martin’s hooks are so mathematically precise, these songs somehow tell the story of a 16th-century girl finding herself in Paris better than any original score could.
The heavy hitters on the & juliet song list
The show starts with a bang. Or rather, a "Baby One More Time."
When the curtain rises, we aren't greeted with a lute or a flute. We get those three iconic piano chords. It sets the tone immediately. If you're looking for a chronological trip through the 90s and 2000s, this is it. But the genius isn't just in playing the hits; it’s in how they’re rearranged. Take "I Want It That Way." In the show, it's a comedic, slightly tense argument between Shakespeare and his wife, Anne Hathaway. It turns a boy band staple into a narrative device about creative control.
Then there’s "Roar."
By the time Juliet gets to this Katy Perry anthem, the audience is usually vibrating. It’s the climax of her "I’m taking charge" arc. You’ve also got "Since U Been Gone," which is performed by Anne Hathaway (the character, not the Oscar winner) in a moment of pure, raw frustration. It’s less "pop princess" and more "rock-infused liberation."
The deep cuts and the surprises
Most people forget that Max Martin wrote "It's My Life" by Bon Jovi. It fits perfectly here. It’s Juliet’s declaration of independence. But the list goes deeper. You have:
- Confident (Demi Lovato): A high-energy sequence that introduces the vibe of Paris.
- Teenage Dream / Break Free: A mashup that shouldn't work but somehow captures the giddy chaos of a first crush.
- Oops!... I Did It Again: Recontextualized as a realization of repeating old patterns.
- Can't Stop the Feeling!: The big, celebratory finale that ensures nobody leaves the theater without a melody stuck in their head.
There’s a specific kind of magic in seeing "Larger Than Life" performed by characters in doublets and hose. It’s camp. It’s loud. It’s exactly what musical theater should be.
Why the arrangements matter more than the hits
If you just played the radio versions of these songs, the show would fail. It would be a glorified karaoke night. What Bill Sherman (the orchestrator) did was elevate these pop tunes into theatrical storytelling.
Take "Love Me Like You Do." Originally a sultry Ellie Goulding track for a certain "shades of grey" movie, here it becomes a soaring romantic duet. The tempo is pulled back. The strings are lush. It stops being a radio hit and starts being a character’s soul laid bare.
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The & juliet song list is a massive 30-song marathon.
That is a lot of music. For comparison, most traditional musicals have about 16 to 20 numbers. The pacing is relentless. You barely have time to recover from a Celine Dion power ballad ("That’s The Way It Is") before you’re hit with Justin Timberlake.
The "Problem" with being too catchy
Ariana Grande’s "Problem" shows up early. In the context of the show, it’s about the "problem" of Juliet’s impending forced marriage. It’s clever. It’s also a reminder of how many different artists Max Martin has touched. You start playing a game of "Wait, he wrote that too?"
He did. He wrote almost everything.
From P!nk’s "F**kin' Perfect" (renamed "Perfect" for the stage) to Adam Lambert’s "Whataya Want From Me," the sheer volume of hits is staggering. It creates a weirdly nostalgic atmosphere. Even if you aren't a "pop person," these songs have been the wallpaper of your life for decades. You know the words even if you don't think you do.
The structure of the show’s sound
The first act is all about the escape. We move through "Blow" by Ke$ha and "Domino" by Jessie J. It’s fast. It’s neon. It’s very much about the "newness" of Juliet’s life after Romeo.
The second act gets a bit more introspective.
"Everybody (Backstreet's Back)" provides the necessary injection of adrenaline after the intermission, but then we get into the meatier stuff. "Show Me Love" and "Overprotected" deal with the constraints put on the characters. It’s surprisingly deep for a show that uses a song about a "Teenage Dream" as a major plot point.
One of the standout moments is "That’s The Way It Is." It’s a song about resilience. In the show, it's a tender moment between Anne and Juliet. It strips away the 90s production and leaves a beautiful message about moving forward. It’s arguably the emotional heart of the entire production.
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Behind the scenes: The Max Martin factor
We have to talk about the man himself. Max Martin doesn't give interviews. He doesn't want the spotlight. But his fingerprints are on every single note of the & juliet song list.
The "Cheiron" sound—the school of songwriting Martin came from—is built on melodic math. The verses are designed to build tension, the pre-choruses to release it, and the choruses to explode. This structure is perfectly suited for musical theater. In a play, a song needs to push the plot or reveal an emotion. Because Martin’s songs are so hook-heavy, they act like emotional shorthand for the audience.
We already have an emotional connection to "I Kissed a Girl." The show just hijacks that existing connection and applies it to a new story. It’s a shortcut to the audience’s heart.
The full list for your playlist
If you're looking to build a playlist before seeing the show, here is the rough order of the madness you’re about to experience:
- Larger Than Life
- I Want It That Way
- ...Baby One More Time
- Show Me the Meaning of Being Lonely
- Domino
- Show Me Love
- Blow
- I’m Not a Girl, Not Yet a Woman
- Overprotected
- Confident
- Teenage Dream / Break Free
- Oops!... I Did It Again
- I Kissed a Girl
- It’s My Life
- Love Me Like You Do
- Since U Been Gone
- Whataya Want From Me
- One More Night
- Problem / Can’t Feel My Face
- That’s The Way It Is
- Everybody (Backstreet’s Back)
- As Long As You Love Me
- It’s Gonna Be Me
- Shape of My Heart
- Stronger
- F**kin' Perfect (Perfect)
- Roar
- I Want It That Way (Reprise)
- Can’t Stop the Feeling!
How to actually enjoy the music
Some people go to the theater and get annoyed if others sing along. Don't be that person, but also, don't be the person belt-screaming "Since U Been Gone" in your neighbor's ear.
The best way to prep for the & juliet song list is to listen to the Original Broadway Cast Recording (or the West End one, featuring the incredible Miriam-Teak Lee). The Broadway version stars Lorna Courtney, and her belt on "Roar" is something that needs to be heard to be believed.
You’ll notice the orchestrations are way more "theatrical" than the radio versions. There are more horns. More dramatic pauses. The songs are stretched out to allow for dance breaks—and the choreography by Jennifer Weber is athletic, hip-hop-influenced, and exhausting just to watch.
The cultural impact of a pop-infused Juliet
There’s a reason this show has stayed relevant while other jukebox musicals have fizzled out. It’s not just the songs; it’s the joy. In a world where theater can often feel heavy or "important," & Juliet is unapologetically fun.
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It uses the & juliet song list to bridge a gap between generations. You’ll see teenagers who know "Can’t Feel My Face" sitting next to parents who remember where they were when "...Baby One More Time" first hit TRL. It’s a unifying experience.
Critics like to sniff at "pop" music as being shallow. But when you hear a thousand people gasp at the opening notes of "Stronger," you realize that these songs are the modern American (and Swedish) songbook. They are our "standards."
Getting the most out of your experience
If you’re planning on seeing the show in London, on Broadway, or on the national tour, keep a few things in mind.
First, the sound design is loud. It’s meant to feel like a concert. If you’re sensitive to volume, maybe grab some high-fidelity earplugs. Second, pay attention to the lyrics. The book writer, David West Read (who worked on Schitt’s Creek), did a brilliant job of tweaking the context of the lyrics to fit the plot. "I’m Not a Girl, Not Yet a Woman" takes on a whole new meaning when sung by a character exploring their gender identity.
It’s these little nuances that turn a "greatest hits" concert into a piece of art.
Actionable Next Steps
To truly appreciate the depth of the & juliet song list, you should dive into the history of the "Max Martin sound." Start by listening to the Original Broadway Cast Recording to hear the specific theatrical arrangements. Compare them to the original radio edits to see how the story is woven into the music.
If you're a musician or a theater nerd, look up the sheet music for "Roar" or "Since U Been Gone" from the show. The vocal arrangements are notoriously difficult, requiring a massive range and "pop-belt" technique that most classical singers find challenging.
Finally, check the official tour schedule. This show is designed for a big room and a big sound system. Seeing it live is the only way to feel the bass in your chest during "Everybody." Once you've experienced the full list in person, you'll never hear Britney or the Backstreet Boys the same way again. The songs stop being just tracks on a playlist and become chapters in Juliet’s new, better life.