Top 20 Opening Songs in Animated Movies That Didn't Have to Go THAT Hard

This classic Disney film isn’t even a traditional musical, but clearly, it doesn’t need to be to deliver a grand celebration of Hawaiian culture. After some quick intergalactic hijinks, “Lilo & Stitch” shifts to something of a literal down-to-Earth perspective. And nothing conveys that better than “He Mele No Lilo.” From its hypnotic vocals to its rousing instrumentation, everything in this track exemplifies composition at its finest. As a result, it somehow captures the very heart of Lilo’s journey in a short period. The fact it’s wrapped inside an earworm of a melody is just the cherry on top. If ohana means family, “He Mele No Lilo” totally hits the motherload.

Newer Disney Princess movies have a lot of iconic starting numbers to live up to. And in this case, the track pulls double duty, characterizing central figures like a grown-up Tiana, as well as New Orleans. “The Princess and the Frog”’s opener does that, and then some. The jazz-inspired rhythm immediately sets it apart from the crowd, while the textured leading performance really propels it into greatness. The fantastic 2D animation doesn’t hurt, either, especially in those moments when the beats perfectly accentuate Tiana’s routine. The most impressive part is that “Down in New Orleans” accomplishes all of this while still feeling breezy, light, and distinctly original.

It’s only fitting that a song introducing Kuzco has more style than it knows what to do with. The confident tempo is fun, upbeat, and most importantly, easy to hum along to after just one listen. In fact, by the time it hits the irresistible chorus, you’ll want to dance right alongside the haughty emperor. “Perfect World” definitely lives up to its name, though that shouldn’t be surprising considering Kuzco literally has a “theme song guy.” Rest assured, he’s worth every single penny. Honestly, it’s a wonder the emperor needs a new groove at all. If this song is any indication, the one he has is already plenty rocking.

No one can write lyrics quite like Lin-Manuel Miranda. “Vivo” smartly gives him free reign to do what he does best, and the results speak for themselves. Keeping up with Miranda’s brilliant rhyme scheme is pretty much its own game. But the rapid tempo is also interspersed with Andrés’ soulful verses, ensuring that “One of a Kind” maintains its own identity amid the high-octane chorus. Thankfully, all its disparate parts work because the central beat is just that addictive. Plus, there’s always something new to catch in the frenetic rap sections. That just speaks to the number’s best quality: it’s a song written to be played on repeat. One listen just isn’t enough.

On principle, what this song achieves through instrumentation alone is worth a round of applause. “Quest for Camelot” relies mainly on its grand melody to sell the weight of its opening song, and against all odds, it completely succeeds. By the time the lyrics slowly fade in, an inspiring tone has already been set for the entire movie. And still, it only gets better from there. The chanting vocals escalate with a rare mastery of scale and expansion. So it doesn’t take long for “United We Stand” to become the very embodiment of the word “stirring.” At this point, it feels like “Quest for Camelot” couldn’t have begun any other way.

This might be the only wedding where the journey to the rehearsal is at least as fun as the actual ceremony. After all, from the opening beats all the way to the closing fade, this piece hooks you and doesn’t let go. The haunting acoustics are just creepy enough to fit in with “Corpse Bride’s” offbeat vibe. Pair that with superbly quirky lyrics, and it’s clear why this song has a habit of getting stuck in our heads. It manages to be weird, catchy, and just plain memorable, usually all at the same time. That’s a tough balance to pull off, but suffice it to say this song was up for the challenge.

When Disney enlisted Phil Collins to write, compose, and record songs for “Tarzan,” it’s safe to say he understood the assignment. As a matter of fact, he only needed one number to prove it. Right from the jump, “Two Worlds” is emotionally resonant, with Collins delivering the message in a way few other artists could. The singer’s impassioned vocals are so captivating, he could be singing a grocery list and it would still be moving. Yet the words themselves also act as a perfect encapsulation of the story’s themes, elevating the final product. Since the song is reprised multiple times throughout “Tarzan,” it’s no hyperbole to say the film is indebted to what Phil Collins did in this opening number.

Oliver may be seen as the runt of the litter, but the song that begins his movie is anything but. On the surface, the track is a heartfelt love letter to New York City. Yet when it’s played over Oliver’s harrowing struggle, the lyrics aren’t just empowering anymore. They’re a full-on anthem propelling the cat to keep going in the face of adversity. The beautiful message is as inspiring as they come, but it's how well it ties into the titular animal’s journey that makes this opener hard to beat. Even though “Once Upon a Time in New York City” plays at the start of the film, it’s bound to stay with you long after the credits roll.

Even compared to the rest of its spellbinding soundtrack, this movie’s inaugural tune practically feels like a wish granted by Genie – especially since it’s refreshingly straightforward. There’s not much excessive flair or imagery, and as a result, there’s a certain smoothness to the sound that’s not found anywhere else. “Arabian Nights” succeeds because of its simplicity, not in spite of it. In fact, the way the lyrics ebb and flow into each other makes just the bombastic hook all the more riveting. The song became such an intrinsic part of “Aladdin”’s identity that it’s been revisited throughout the franchise, in sequels, a TV show, and more. It’s hard to get higher praise than that.

This toe-tapping opener covers a lot of ground, but it’s a testament to the hum-worthy melody and charming lyrics that we never feel left behind. The song establishes Derek and Odette as two people who do not want to get married, under any circumstances, despite the not-so-subtle prodding of their parents. The alternating perspectives effectively characterize our leads, all the while tracking a clear progression in their relationship. It admirably balances story and character with a catchy rhythm that will leave you humming long after the credits roll. It may not be Derek or Odette’s idea of fun, but it sure is a good time for us.

Upbeat, exciting, and bursting with life, the titular song that begins this animated feature is one of the most striking in modern memory. Accompanied by suitably festive animation and lighting, the dynamic tempo helps achieve the cardinal rule of storytelling to show and not tell. It may be called “Real in Rio,” but the spirited execution and energetic rhythm demonstrates the beauty of the tourist hotspot in a way words couldn’t, and the film is all the better for it. Much of the story’s emotional weight hinges on the effectiveness of this number. Rest assured, though, with a song like this, we’re ready for a long vacation in Rio.

It may be named after a literal City of Gold, but this cult-hit’s stellar soundtrack is almost just as valuable. Music supervisor Marylata Jacob approached the film’s sound with worldly aspects in mind to respect the eastern influences of the story, but that wasn’t the only ingredient that led to this immaculate opening number. With composition by Elton John and Tim Rice, it's no wonder this debut song is a delightful earworm we’re more than happy to let hang around. For as brief as it is, the tune manages to perfectly represent the aesthetic and influences of the film, capturing a distinct flavor of music not often heard in western cinema.

As a film unlike anything else, well, ever, it’s fitting that the starting number boasts an ironclad grip on the gleefully weird tone that makes this holiday mashup so popular to this day. If the stunning stop-motion animation didn’t hook you, this delightfully oddball song absolutely would. Like the film overall, this number somehow finds a marriage between the cheer of Christmas and the spookiness of Halloween. The end result is a tune that’s both merry and a little uncomfortable. Not that it matters too much. Regardless of the holiday, we’ll happily sit through the hijinks of Jack Skellington if it means we can dance to this song one more time.

You’d be forgiven for assuming this animated princess tale is among the Disney catalog, especially since its grand introduction feels right at home alongside some of the classics. The song has a certain enchanting quality that makes it impossible to resist. A brilliant rise and fall of harmonies gives real excitement to the talk of the princess’ return. The bombastic chorus also lends the vocals a gritty yet dignified tone that sells the grim state of the world. St. Petersburg is practically its own character here, and brought to life by expressive animation and clever rhymes, marks this number as one of the standouts from any animated opener, Disney or not. Well, we guess Disney does own Fox now.

When people think of Disney opening songs, this one probably comes to mind - and that’s for a very good reason. There’s no better way to kickoff a musical than with a good old-fashioned group number – especially one with as much heart and soul as “Belle.” The way the townsfolk’s mundane lives weave into the harmonies breathes so much life into the world. Plus, we get so much exposition, without ever having to sacrifice the song’s commanding cadence. This is a real and true ensemble number, but even beyond all that, “Belle” is simply satisfying to listen to. It’s a mastercraft of musical arrangement that just never gets old, no matter how many times you hear it.

Standing out amongst the action, romance, and tragedy to come, this movie starts with an undeniably rocking musical number. It’s hard to think of any other opening song that reaches the same levels of funky fun as this, with all the personality, charm, and soul that represents iconic composer Alan Menken at his apex. The beat introduces us to the world of Gods and monsters, but it's easy to forget that when you’re lost in this high-energy chorus. It’s pure fun, through and through, and ends up as a high point in a film with an already legendary soundtrack. Greek Gods and gospel jazz - now that’s a match made in Olympus.

We dare you to find a film series that does a good, old-fashioned insert song better than “Shrek.” And we don’t think anything can top this iconic anthem and all its head-banging glory. Shrek’s daily routine is as crass and foul as he is, but with this fitting tune behind him, you can’t help but feel a little endeared. The punk-rock beat fits almost too well with the ogre’s demeanor, painting him as an unlikely hero more than content with his simple lifestyle. Smash Mouth would spice up any movie, but with such clear care in its placement here, it’s no wonder this lives on as one of the greatest utilizations of an insert song in film history.

This song has no cheerful character intros, no quirky lyrics, and certainly no fun. Despite lacking everything we expect from the start of a musical, this ends up being one of the greatest, and most memorable, beginning numbers of any animated film, period. There’s a chilling grit and rawness on display here, executed through repetitive phrasing, gruff vocals, and a haunting rhythm. The grim chorus mixed with angelic sounds give so much emotional weight to the story unfolding. Both beautiful and a bit frightening, all the while boasting a mastery of tone, this song is an extraordinary kickoff to an underrated gem. And it culminates in a final stretch of notes that are downright unforgettable.

When it comes to the greatest film openings of all time, this song is impossible to overlook, and for good reason. The African-inspired vocals are so iconic, just uttering the first phrase will have everyone in the room chanting along. It’s a feat not just of animation, but of composition too, with a melody that evokes so much beauty in a way only music can. It continues to build masterfully into a chorus that sums up the themes of the story in a way that’s both cathartic and breathtaking. In all its spine-tingling, exemplary glory, few films begin with this much heart, but that’s the benefit of a fantastic song in the right hands.

Nothing can prepare you for the staggering presentation of human will exhibited in this unforgettable sequence. There is an incredibly potent, unfiltered quality to the straightforward lyrics that build atop each other into a powerful anthem that’s guaranteed to leave you breathless. The song is astoundingly resonant even before Moses’ mother joins in. However, once she does it is her harmony that elevates the number to something even greater. It somehow captures the cruel realities of its story while adding in a hint of hope, resulting in a song that’s emotionally effective in a way that’s hard to put into words. It’s so daring, beautiful, and tragic that it's hard to believe it’s just the first few minutes of a feature-length film.