20 Best Uses Of Songs In The MCU

Deadpool and Wolverine, the third film in the Deadpool franchise and the character's first step into the MCU, continues to kick goals, remaining top of the worldwide box office and becoming the highest grossing R-rated film of all time. On top of this, as many fans have noticed, the film has resulted in a viral resurgence of the early Madonna single 'Like a Prayer'.

Two new versions of the classic track were created, an up tempo Battle Royale remix, and the stirring choir version. Both were used to great effect in the film. While Deadpool and Wolverine will almost certainly become one of the most well known examples of such an occurrence, it is far from the only time an MCU project has included a memorable moment made even more so by the music accompanying it.

Let's take a look at some of the best uses of songs in the MCU.

1. AC/DC, 'Shoot To Thrill- ('Iron Man 2'/'The Avengers')

While Iron Man 2 is, for the most part, considered one of the weaker entries in the Marvel Cinematic Universe, it does have it's moments. One of those moments just happens to be the opening scene. Dropping out of an aircraft in the latest iteration of the Iron Man suit, Tony Stark flies over New York City before making his grand entrance onto the stage at the latest Stark Expo, complete with 'Iron Girls' dancing to legendary Rock band AC/DC's 'Shoot to Thrill', which had played over the entire sequence.

The scene remains one of the most iconic Iron Man moments.

On top of this, the scene made 'Shoot to Thrill' so synonymous with the character that when Tony hacks the P.A system on Natasha's jet to play the song in The Avengers, it would have been obvious whose arrival the song heralded even if he hadn't announced himself.

2. Kitty Allen and Harry James, 'It's Been A Long, Long Time' - ('Captain America: The Winter Soldier'/'Avengers: Endgame')

A classic song of wartime, and also implied to be a favourite of Captain Steve Rogers, the Kitty Allen and Harry James duet 'It's Been a Long, Long, Time' has seen two significant uses in the MCU. The first came in Captain America: The Winter Soldier, where an injured Nick Fury plays the record to alert Steve of his presence in his apartment, and warn him of the fact that S.H.I.E.L.D has been compromised.

However, for many fans, the more memorable appearance of the track would have been in Avengers: Endgame, when after returning the Infinity Stones to their proper moments in time Steve opts to head for the past rather than the present, resuming his relationship with his beloved Peggy Carter.

The song puts a perfect bow on Cap's story. 'It's Been a Long, Long Time', but Steve is finally getting his dance with Peggy.

3. Redbone, ('Come and Get Your Love'- 'Guardians of the Galaxy', 'Avengers: Endgame', and 'Guardians of the Galaxy Vol.3)

It is a well-known fact that those in the entertainment industry widely assumed that the first Guardians of the Galaxy film would become Marvel Studios' first flop. Instead, it became an unexpected hit, spawning one of the most popular sub-franchises in the entire Marvel Cinematic Universe.

While some doubters were won over by the film's trailer, others did not see the magic until the opening sequence. The scene features the film's lead character Peter Quill, aka Star-Lord, singing and dancing to Redbone's 'Come and Get Your Love' while on his way to steal a valuable orb. A perfect introduction to both the character and the film's quirky tone, it lets viewers know exactly what to expect. The scene is revisited in Endgame, song included, when Nebula and Rhodey intercept Quill so they can reach the Power Stone before him.

'Come and Get Your Love' is also used in a post-credits scene in Guardians of the Galaxy Vol.3, acting as an introduction to the characters who will most likely form the Guardians roster in any future films.

4. The Runaways, 'Cherry Bomb' (Guardians of the Galaxy)

After deciding to come together in a last-ditch effort to save the Galaxy from Ronan the Accuser, the newly formed Guardians of the Galaxy prepare for battle, and rally their various unlikely allies. The Runaways hit 'Cherry Bomb' serves as the backing track for the sequence.

It is an especially iconic scene in a movie full of iconic scenes, largely due to the Guardians truly coming together as a team for the first time.

5. alt-J, 'Left Hand Free' (Captain America: Civil War)

Around the mid-point of Captain America: Civil War, both Tony Stark and Natasha Romanoff come to the realisation that their side of the Sokovia Accords conflict lacks manpower. Thankfully, they have options. As Natasha asks Tony what his plan is, the scene cuts to Queens, where alt-J's 'Left Hand Free' plays as Peter Parker, aka Spider-Man, arrives home from School (and into the MCU), to discover Tony in his loungeroom ready to recruit him.

The use of the song is brief, but effective, with many fans having come to associate it with the character.

6. The Ramones, 'Blitzkrieg Bop' (Spider-Man: Homecoming)

While eagerly awaiting the call-up for another Avengers mission, Peter Parker is left to hone his skills as a street-level hero in Spider-Man: Homecoming. A montage early in the film features Peter performing Spider-Man duties after school, including retrieving a stolen bike, and giving a lost old woman directions.

The above scene is scored with The Ramones' 'Blitzkrieg Bop' (Better known to some as 'Hey, Ho, Let's Go'). This adds an extra note of fun to the scene. which is perfect for Spider-Man. The song also appears in Homecoming's credits.

7. Electric Light Orchestra, 'Mr. Blue Sky' (Guardians of the Galaxy Vol.2)

The brief scene of the newly-sprouted Baby Groot dancing in his pot was one of the most beloved moments of the first Guardians of the Galaxy film, so it made sense that Baby Groot featured heavily in the sequel, right from the very first scene. Now free from his pot and on the move, Groot successfully activates a speaker built by Rocket Raccoon so the Guardians can have music while they work. Groot then dances to 'Mr. Blue Sky', completely oblivious to the chaos unfolding around him as his teammates battle an Abilisk.

As with the first film, Guardians of The Galaxy Vol.2's opening sequence perfectly sets the scene for the movie to come. Some consider it to be not just the best opening in the MCU, but one of the greatest film openings of all time.

8. Jay and the Americans, 'Come a Little Bit Closer' (Guardians of the Galaxy Vol.2)

After a few failed attempts at sending Baby Groot to retrieve the prototype fin that can control the Yaka Arrow, Rocket and Yondu both escape imprisonment and secure the fin with the help of a remorseful Kraglin. As the first bars of Jay and the Americans 'Come a Little bit Closer' echo through the ship, the mutineering Ravagers alerted to Yondu's newfound freedom just moments before he begins slaughtering them all with his arrow during his escape.

The scene is the pure chaotic fun fans love in the Guardians movies, and forges an unlikely bond between Yondu, Rocket, and Groot that becomes important for the remainder of the film.

9. Fleetwood Mac, 'The Chain' (Guardians of the Galaxy Vol.2)

While his newly discovered Celestial heritage gives Peter Quill a connection to the light within Ego's planet in Guardians of the Galaxy Vol.2, he struggles with learning to draw upon and control it under his own steam. As a result, the Guardians are left severely disadvantaged when they first attempt to thwart Ego's expansion.

Thankfully, inspired by Yondu's advice to use not just his head, but his heart, Peter fully forges his connection to the light. To the tune of Fleetwood Mac's 'The Chain', Peter takes control, fighting back to turn what had been a curb-stomp battle against the Guardians into a more even match between himself and Ego, buying Groot time to place the explosive at the planet's core.

When doubts were placed on the song's appearance in the film, Director James Gunn met with Fleetwood Mac band members over the rights to 'The Chain'. He secured permission by showing an early cut of the above climactic scene, now one of the MCU's most iconic moments.

10. Led Zeppelin, 'Immigrant Song' (Thor: Ragnarok)

After the destruction of Mjolnir (through which he had usually focused and controlled his powers) early in Thor: Ragnarok, Thor spends most of the film struggling to use or connect with his abilities as the God of Thunder. The issue comes to a head in the film's final act when Thor, facing an epic beatdown at the hands of his sister Hela while trying to buy the people of Asgard time to escape, experiences a vision of his recently deceased Father, Odin, who convinces him that Mjolnir was not the source of his power, but a conduit for it.

Thor, backed by Led Zeppelin's 'Immigrant Song', subsequently frees himself from Hela's grip, reconnects with his powers, and rejoins his allies to fight Hela's army. It is an epic scene, easily considered one of the best uses of a song in an MCU film. Some believe it also influenced the decision to go with a mostly 'Dad Rock' soundtrack for Thor: Love and Thunder.

11. No Doubt, 'I'm Just A Girl' (Captain Marvel)

As one of the MCU's few 'period' films, Captain Marvel makes heavy use of a classic 90s soundtrack to confirm and solidify the decade in which it is set. In a film where the use of 90s music is common, one particularly memorable instance of it comes in the film's second half, as Carol Danvers battles her Kree former teammates to No Doubt's 'I'm Just A Girl'.

The song fits the scene, and larger theme of the movie, far beyond it's status as a girl-power anthem. The scene takes place as Carol is in the process of reclaiming her true identity after years of suppression under the the Kree, and works well as the lead in to her being able to fully embrace and control her powers shortly afterwards.

12. AC/DC, 'Back In Black' (Spider-Man: Far From Home)

Spider-Man: Far From Home follows Peter Parker's struggle as he becomes torn between a perceived responsibility to live up to the legacy Tony Stark has left behind, and his desire to be a normal teenager for awhile and enjoy his school trip to Europe with his friends. At his lowest point during the film, after accidentally handing over the E.D.I.T.H glasses to Mysterio, Peter seeks advice from Happy Hogan, who informs him that no-one expects him to be a carbon copy of Iron Man.

Inspired, Peter sets about making a new suit, while Happy chooses music for the trip.. AC/DC's 'Back In Black', which Peter humorously mistakes for Led Zeppelin. Both the song, by a band of which Tony was known to be a fan, and Peter's innocent mistake regarding said band's name, can be perceived as symbolic. Peter can carry on Tony's legacy while still being himself.

13. WandaVision's Sitcom Theme Songs

As we quickly approach four years since the MCU' first streaming TV series, WandaVision, made it's debut on Disney Plus, the show remains one of the most unique Marvel projects to date. The show explores Wanda's mental health and grief under the guise of sitcoms through the decades, which of course, included sitcom theme songs through the decades.

The six themes, written by Frozen songwriters Kristen Anderson-Lopez and Robert Lopez, differ to match their sitcom decade, but remain connected through a familiar four-note motif. Some of the themes were used to hide comic book Easter Eggs, or small plot related clues. All are catchy and fun, as a sitcom theme should be.

14. 'Agatha All Along' (WandaVision)

After appearing for most of the series to be just Wanda's nosy neighbour, the closing moments of WandaVision's seventh episode reveal that Agnes is actually a centuries old witch named Agatha Harkness, eager to discover how Wanda was able to weave such a powerful spell over the town. The method for this reveal? Agatha's own immediate earworm theme song, 'Agatha All Along'.

Also written by the Lopezs, Agatha's theme uses the same four-note motif as the WandaVision themes, albeit a slightly warped version, and was inspired by creepier classic sitcoms such as The Addams Family and The Munsters. The song is so memorable that it's title was repurposed for Agatha's soon to be released spin-off series, Agatha All Along.

15. Malia J, 'Smells Like Teen Spirit' cover (Black Widow)

Many Marvel fans agree that we waited much too long for a Black Widow solo film, with the wait unfortunately made even longer when the film's release was delayed not once, but twice due to the COVID-19 pandemic. Thankfully, when the film did arrive, it was worth the wait. The film's opening credits sequence features a montage mixing brief clips and still images of a young Natasha Romanoff, and other young girls, training in the Red Room, set to a stripped-back cover of Nirvana's 'Smells Like Teen Spirit', performed by Malia J.

The sequence is rendered somewhat unsettling by the song, which is exactly as it should be. We know Natasha's training was not pleasant, and Black Widow's opening credits reinforce this.

16. Guns N' Roses, 'November Rain' (Thor: Love and Thunder)

As mentioned earlier in this piece, Thor: Love and Thunder utilises a mostly 'Dad Rock' soundtrack, leaning heavily on the greatest hits of classic Rock band Guns N' Roses. Of the many songs used in the film, one of the most effective is that of 'November Rain' in the climactic battle sequence.

Initially, facing the possibility of fighting Gorr and his army of monsters on his own, Thor opts to briefly grant a group of rescued Asgardian children the power of Thor, leading them into battle. The song also adds emotional weight to the scene, as interspersed in the battle are shots of the Cancer-stricken Jane Foster, leading up her decision to take up Mjolnir again and go to Thor's aid, despite knowing it will cost her her life.

17. Old 97s, 'I Don't Know What Christmas Is (But Christmastime is Here), (The Guardians of the Galaxy Holiday Special)

One of the most surprising, but delightful entries in Phase Four of the MCU was The Guardians of the Galaxy Holiday Special. While like all Guardians projects, the Special makes good use of music, but the best song on the soundtrack is easily the original one with which the special opens.

Performed by The Old 97s in character as an alien band living on knowhere, 'I Don't Know What Christmas Is (But Christmas Time Is Here)', gives an alien interpretation of Earth Christmas. Unfortunately, to the horror of Peter Quill, almost every detail was hilariously wrong. It was a perfect set up for the special to come.

18. The Beastie Boys, 'No Sleep 'Til Brooklyn' (Guardians of the Galaxy Vol.3)

The Guardians of the Galaxy spend most of the third film in their trilogy with a missing piece, battling to save Rocket Raccoon as he lies seriously injured in the ship's med bay. Rocket recovers just in time for the final act, opting to no longer run from his creator, the High Evolutionary.

The result was an epic and immediately iconic battle sequence set to The Beastie Boys 'No Sleep 'Til Brooklyn'. Filmed as though it was a single continous shot, the scene perfectly displays each Guardian's individual talents, while also showcasing just how well they work together.

19. Florence and The Machine, 'Dog Days Are Over' (Guardians of the Galaxy Vol.3)

As what was believed to be the final film featuring the Guardians full original line-up, many fans feared we would lose one or more team members in Guardians of the Galaxy Vol.3, so it came as a very pleasant surprise that everyone survived.

As each of the Guardians embark on new adventures, those who remain on Knowhere engage in a large, celebratory dance to 'Dog Days Are Over'. Karen Gillan, who played Nebula in all three films, has named 'Dog Days Are Over' as her favourite song on the soundtrack, seeing it as a culmination of the characters' journey.

20. Madonna, 'Like A Prayer' (Deadpool and Wolverine)

While it appeared in the first full trailer for Deadpool and Wolverine, it was unlikely that anyone expected just how prominent Madonna's 'Like a Prayer' would be in the final film. However, both the new 'Battle Royale Remix' and 'Choir version' are used perfectly in two major climactic sequences, in what will immediately become some of the best uses of music in MCU history.

Hopefully we will see more creative, memorable, or simply epic uses of songs in the future.