At 90bpm in E, this is the album's most patient cue: fingerpicked acoustic guitar and piano with bells over a slow string swell, drums and electric guitar arriving late to lift it into choir-backed uplift. The arc moves from intimate reflection to a wide, hopeful peak without ever losing warmth, which makes it a good bed for a narrated present-tense message about slowing down.
A 120bpm indie-folk anthem in G minor, the minor key giving its acoustic guitar, driving drums and brass a more determined, hard-won feel than the album's major-key cues. Male lead vocals and oohs/ahhs plus choir push the back half into a triumphant chorus, suiting footage of sustained effort finally paying off.
120bpm in bright F, built on strummed acoustic guitar, piano and violin with brass and male vocals widening the last minute into a communal, choir-like swell of oohs and ahhs. Its tone is more contemplative than the album's fastest cues — inclusive and unifying rather than punchy — and it runs a near-three-minute build to a full resolve.
The quickest of the mid-tempo group at 130bpm in B flat, with acoustic guitar, piano and violin over an insistent kit and bass, brass and wordless backing vocals filling out a soaring final section. No lead vocal keeps the middle open for narration, and the short 2:44 length makes it an easy fit for a two-and-a-half-minute cut.
The most rhythmically playful cue here: 120bpm in G with mandolin, handclaps and a four-on-the-floor kick under acoustic guitar, brass, male vocals and choir. It reads as celebratory and forward-marching from the first bar and lands on a big triumphant chorus, ideal for crowd-driven, cause-led footage.
160bpm in E and driven hard by drums, bass and strummed acoustic guitar with electric guitar and choir carrying the peak; no lead vocal, so the energy is instrumental and propulsive. Joyful and euphoric rather than epic, it works best where the picture is already moving fast.
The album's shortest cue at 2:22, 140bpm in C, and one of the sparest — acoustic guitar, piano, violin, strings and choir with drums and no electric guitar or brass. That leaner palette keeps it gentle and intimate even at speed, suiting small human moments told over narration.
A 160bpm, C major surge with acoustic guitar, piano, brass, male vocals, choir and oohs/ahhs stacking into a wide, planetary finale. Faster and more vocal-forward than its neighbours, it is written for sweeping aerial and nature imagery and resolves on a full triumphant chord.
85bpm in G and the longest cue on the album alongside the title track, with a rock edge from the electric guitar sitting under acoustic guitar, piano, violin and wordless backing vocals. It opens introspective and serious, then grows into a broad, urgent statement — a slow-burn bed for speech-led social documentary.
The title cue: 85bpm in D, 3:23, and the most orchestral and epic of the set, adding bells, brass, full strings and choir to the indie-folk core. It begins intimate and romantic and builds across its length to the bombastic, triumphant back end the album is named for, making it the natural closing or trailer piece.