Top 30 Best Musical Finale Songs

Their methods might be different, but by the end of “Sister Act,” both Mother Superior and Deloris find that they have more in common than they initially realized. When all’s said and done, both just want to spread a little love around and music is an ideal way to get their mutual message across. The grand finale is as heavenly as it is funky with an entire chorus of nuns decked out in glittery habits performing for the Pope. This number combines the glitz of a Las Vegas show with the rousing spirit of a gospel choir. Whether you’re a churchgoer or not, it’s hard not to clap along and then break out in applause.

Capping off a stellar soundtrack written by Cyndi Lauper, “Raise You Up/Just Be” is the epitome of a spectacular finale. The characters reunite at a footwear show in Milan as they celebrate what makes each of them so special. We’re treated to some of the flashiest costumes, a fabulous catwalk from the Angels, and the entire cast dancing in killer heels. Plus, the song’s message of being kind to yourself - and others - will likely resonate with audiences everywhere. With an uplifting moral hook, catchy music, and a spirited performance, you’ll still be dancing long after the curtain call. Now that’s how you send off an audience!

This poignant show tells the true story of just some of the hundreds of people whose flights were grounded in the small town of Gander, Newfoundland on September 11, 2001. The bonds they built with the locals are celebrated in an epilogue taking place ten years later. The finale reprises “Welcome to the Rock,” the song which introduced us to that town. They sing of how Gander has become a second home to the passengers, and the people of the town their second family. It’s a eulogy and a celebration, a welcome and a goodbye.

The magic of vulgarity and puppets come together in this parody of “Sesame Street,” which tackles adult issues and the disappointments of real life. For all its irreverence, the show ends on a pretty optimistic but bittersweet note. Reworking the show’s anthem about life being terrible, the finale is very much like the rest of “Avenue Q.” It’s kinda funny and kinda dark when you think about it. “For Now” is a reminder that everything is fleeting. That includes the good stuff as well as the bad. So, what’s the takeaway? Well, it’s that life goes on… until it doesn’t.

Like its source material, “You’re a Good Man, Charlie Brown” isn’t exactly driven by plot, but is heavy on character, atmosphere, and charm. The ending is appropriately simple while also being profound as the Peanuts gang reflects on the little things in life that make them happy. With a soothing melody and pleasant lyrics, “Happiness” is a song that can appeal to audiences of all ages, reminding us that even during bleak times, you can still find a silver lining. Charlie Brown may be a blockhead, but he ultimately learns that making the most out of what life gives you is the key to being a good man, thus earning Lucy’s respect.

Following a rather explosive altercation with J.D., Veronica pleads with her classmates to show each other more kindness. In this final number, she urges them to leave their hate and prejudices behind, and focus on the joys of being young and free while they can. Starting softly as an intimate moment between two friends, the song builds into a celebration as all the students get behind Veronica’s message - and embrace being free-spirited teens. This reprise is one to appeal to all audiences, whether they’re seventeen or seventy. And it reminds us that no matter how old we are, we should always strive to make life beautiful.

Lin-Manuel Miranda’s first masterpiece, “In The Heights” is a touching tale that cuts to the core of what it means to follow your dreams, lean into your family, and figure out where your home is. This is all perfectly encapsulated by the Latin-inspired hip-hop finale, sung by Usnavi and the cast. With gentrification taking over, the residents of Washington Heights prepare to leave. But after a beautiful mural is revealed, Usnavi realizes what home means to him. Thus, he vows to continue sharing the hundreds of stories from his neighborhood. And Miranda himself has since adhered to that promise by bringing “In the Heights” to international audiences.

The teens of this musical tragedy have seen way too much. They’re only just beginning to grasp their place in the world, but confusion, despair, and death are all around them. Feeling they’ve been failed by the adults in their lives, the ensemble sings of the future they will inherit. Their time is coming. “The Song of Purple Summer” is their coming-of-age statement. The lyrics invoke images of nature, rebirth, and the natural order of things. As the young characters join together, singing in harmony, the repeating chorus almost starts to feel like a chant.

In this updated version of “The Wizard of Oz,” with an R&B and pop-inspired score performed by an African-American cast, Dorothy sums up everything she has learned in one powerful song. “Home” is the culmination of all the trials she has had to face. Saying goodbye to her new friends, she realizes that home is where she belongs, but she needed to go through the perils of Oz to realize it. Some incredible singers have taken on the song over the years because it works so well out of context. “Home” is about something everyone can relate to.

In musicalizing Miguel de Cervantes’ novel about the old man who believed he was a knight, the show sets the story of “Don Quixote” inside a story about the author himself. Cervantes himself is a character, on trial during the Spanish Inquisition. His fellow prisoners, having watched the show within a show, salute Cervantes with Don Quixote’s anthem. “The Impossible Dream” is by far the most famous song from the show. It reminds us of hope and honor in a world where both are in short supply. But watching the author, who’s come to represent Don Quixote himself, serenaded by his fellow prisoners, reminds us that his dream is not dead.

At the end of this Kander and Ebb musical, Roxie Hart and Velma Kelly have beaten their murders raps, but their fifteen minutes of fame are up. However, they’re not willing to give up on show business just yet. The feuding jazz babies of the Cook County Jail decide to pair up in a double-act. The result is a dazzling closer. “Nowadays” is great enough with its bawdy style and suggestive lyrics, but the “Hot Honey Rag” is an explosion of old-fashioned song and dance. Originally staged by the legendary Bob Fosse, if it doesn’t have you rooting for these two murderesses, nothing will.

Basing this musical on Ferenc Molnár’s 1909 play “Liliom”, Rodgers and Hammerstein decided that their adaptation needed a happier ending. The finale takes place during Louise’s graduation, where Billy is finally successful in his last attempt at redemption. Led by Dr. Seldon, the characters sing this beautiful final tune together as Billy ascends to heaven. The lyrics reportedly came easily to Hammerstein, but finding a suitably rousing melody apparently took Rodgers a little longer. Admittedly, the ending is rather outdated, and has plenty of issues. Nevertheless, “You’ll Never Walk Alone” has transcended “Carousel” to become a universal symbol of hope.

When “Next to Normal” opened on Broadway, its groundbreakingly honest depiction of mental illness caused quite a stir. The show took the immense responsibility of tackling such a heavy topic in its stride, though, and made sure to end on a message of hope. Diana leaves the family so that she and Dan can each begin to process their own grief. He’s devastated, but is finally able to reconcile with the past. Meanwhile, Natalie comes to terms with the situation, too. And Gabe is also relieved of his otherwise dark role, as the family unite to sing this moving melody about new beginnings.

“Beauty and the Beast” was the first in Disney’s long line of enchanting Broadway productions, ending on a high note. However, it was “The Lion King” that redefined just how ambitious and spectacular a Broadway show can be. Like the 1994 animated feature it’s based on, this musical commences and closes with the triumphant “Circle of Life,” both literally and figuratively bringing the story full circle. As jaw-dropping as the opening number is, the finale packs an even greater punch since we’ve formed such a strong connection with our heroes. Seeing the entire cast reunite as Simba and Nala’s cub is presented is the ultimate celebration of unity, destiny, and – of course – life.

Reminding us that the events seen in “Wicked” are actually a flashback, the “Finale” picks up with a familiar melody and lyrics from the opening number. The citizens of Oz are still celebrating the apparent demise of the Wicked Witch. But this time, it’s interjected with melancholy as Glinda reflects upon the loss of her friend. Sharing one final song, the pair sing in stunning harmony, creating a powerful dissonance from the joyous crowds. However, their tune is drowned out by the ensemble, reminding us that it was the labels of good and wicked that ultimately determined these characters’ fates.

In this adaptation of the graphic novel, author Alison Bechdel is represented in three different times of her life by three different actors. Her childhood self, college-aged self, and adult self form a trio for its final song. Coming to terms with her father’s death and all she might never know about him, she remembers playing “airplane” with him. The three Alisons’ voices soar and layer over each other, but come together in harmony, like three spirits becoming one. “Flying Away” is a reminder that even in the tragedy of it all, there were moments with her troubled father that still remain perfect in her memory.

As much as this satirical musical makes fun of the Mormon religion – and religion in general – it also encourages people to never let go of their faith, as long as they’re channeling it towards something positive. “Tomorrow Is a Latter Day” is a surprisingly optimistic number, motivating us to work towards a better world by doing good to others. As for what the future holds for our protagonists, it’s entirely possible people will be preaching the Book of Arnold one day. The teachings may be out-there, but it’s the message that really counts. In addition to being clever and hilarious, this is a life-affirming show-tune that leaves us feeling hopeful exiting the theater.

Fleshing out the ending of this musical was no easy feat for Stephen Sondheim. In fact, he first went through three other potential finale songs, including a much darker one called “Happily Ever After.” But they didn’t work for various reasons, and so he’s said to have somewhat begrudgingly settled on “Being Alive.” Nevertheless, after reflecting on relationships throughout the show, this is the moment where Bobby’s cynicism fades away. Thus, the character finally comes to terms with what he really wants. It might not be as upbeat as some of the other songs on our list, but it’s a powerful ending that hits us right in the feels.

Tevye the Milkman is a Jewish man caught between the traditions he has always lived with and the modern world. As he watches and comes to terms with cultural progress, he and his fellow villagers are expelled from their homes by the Russians. “Anatevka” is their solemn goodbye to the only home they’ve ever known. While it may not look like much, now that they’re being pushed out, it suddenly feels like the entire world. But the song also reminds us that history told them they must always be ready to look for a new home when they’re pushed out of their old one.

After being shown some compassion by Christine, the Phantom accepts that her happiness lies elsewhere and frees Raoul. As the two leave together, we see the tear-jerking contrast of their love song set against the Phantom’s loneliness. The soft build-up of the music conveys his despair, and the emotive melody leaves us all choked up. As the tune hits its crescendo, we can almost feel the Phantom’s overwhelming sorrow. Yet the enigmatic finale shrouds him in mystery once more, as he suddenly disappears from sight. It may not be the grandest ending, but it definitely leaves a major impact.

While this Rodgers and Hammerstein classic is known for its joyous and family-friendly music, the finale features a drama that would be just as at home in a spy thriller. Maria, Captain Von Trapp, and the Von Trapp children make a narrow escape from the Nazis at a music festival. Helped along by some friends, including the nuns at Maria’s former abbey, they make a daring and desperate escape to safety in Switzerland. As they escape, the nuns form an angelic chorus. Their tear-wringing reprise of “Climb Ev’ry Mountain” closes the show, and leaves the audience with a reminder of the importance of following your dreams.

Stephen Sondheim’s musical is not just about the creation of the painting, “A Sunday Afternoon on the Island of La Grande Jatte,” by Georges Seurat. It’s about how art can make the artist and their subjects immortal. At the end of Act One, his subjects return for the final number, where they recreate a tableau of the painting. Full of shapes, color, light, it’s all about images. And for the second act finale, the subjects return to help Georges’ grandson, who is experiencing an artistic crisis. Seurat’s mistress, who could not stay with him in their lifetime, manages to express her love for Seurat by inspiring his grandson, creating a haunting, beautiful finale which stays with viewers long after the final note and image fade.

At the heart of this musical is a message about living life in the now, as any day could be your last. This moral is only made more meaningful knowing that creator Jonathan Larson died before “Rent” made it Off-Broadway. The finale perfectly embodies the show’s underlying themes as Mimi pulls through and everyone celebrates. Although “Finale B” combines several prior songs, it still stands out as a wholly unique number that leaves every listener uplifted and the final appearance from the diseased Angel is especially joyous. “Rent” is such a powerful story that at the end of an early off-Broadway production, it actually left one young audience member saying, “Thank You, Jonathan Larson.”

A lot of popular stories seem to be about aspiring artists seeking superstardom. This long-running musical shines a spotlight on Broadway’s unsung heroes, however: the chorus. “A Chorus Line” centers on several individuals who all stand out with colorful personalities. When everyone’s brought together for the final number, though, they all blend into each other as one singular sensation. The fact that all the dancers are wearing matching outfits only makes it harder to distinguish one person from another. As toe-tapping as the finale might be, it’s also kind of melancholy considering that all of these talented performers will forever be part of an ensemble, never shining as stars. Such is the nature of showbiz.

Touching on peace, sexual freedom, and hippie subculture, this controversial rock musical did such an exceptional job at encapsulating the ‘60s that many of the songs would become anthems used for protesting the Vietnam War. The finale in particular is a tragic yet inspiring anti-war number that still resonates in today’s political climate. As a young free spirit prepares to ship out in a military uniform, his fate is sealed with a swan song. The grim fate of this character gives the song the sentiment of something you’d hear at a funeral. At the same time, the soulful choir injects a hopeful and even blissful essence that encourages us to let the sunshine in.

As the curtain closed on “In the Heights,” it seemed like Lin-Manuel Miranda had forever topped himself. He somehow managed to reach even greater heights with “Hamilton,” however, which continues to enthrall audiences from beginning to end. The play depicts Alexander Hamilton as a founding father who doesn’t want to miss his shot at going down in history. Ironically, his ill-fated duel with Aaron Burr would overshadow many of his achievements. The finale, which is primarily helmed by Hamilton’s widow, not only explores Hamilton’s life, but also contemplates the concept of time and how history portrays us all. We all live, we all die, but the story plays out much differently depending who tells it.

It goes without saying that most fairytales carry moral teachings. In “Into the Woods”, the general lesson is that actions have consequences. This song sees the cast reunite one final time, as the characters reflect upon what they’ve lost - and what they’ve learned. It’s a hauntingly beautiful tune that encourages its audience to always lead by example. The bittersweet ending marks the end of one chapter and the beginning of another. Importantly, it also demonstrates Stephen Sondheim’s genius by bringing us full circle. The Baker starts to tell his baby of the events that led to this moment, all while we, the captivated audience, watch on.

Every song in “Hairspray” is a treasure, but the composers saved their absolute best song for last. Simply put, “You Can’t Stop the Beat” is everything you could possibly want out of a grand finale. For starters, it makes impeccable use of the entire ensemble with each major player getting a solo or duet. It also wonderfully sums up the show’s overarching themes of acceptance and embracing the changing times. With infectious instrumentals and energized lyrics, the whole finale is like a party you never want to end. While the song itself may come to a close, the catchy melody will never leave your head. You literally can’t stop the beat!

It could just be one of the most iconic songs in all of musical theater. But would you believe that it almost never existed? According to Sondheim, the track came about when choreographer Jerome Robbins ran short of time to stage a ballet that had originally been meant to signify Rose’s breakdown. To replace it, Sondheim penned a song featuring bits and pieces from earlier numbers. And so, the protagonist finally abandons all pretenses, as an overflow of emotions pour out of her through this fiery showstopper. An emotionally charged number, it’s held as one of the best musical soliloquies of all time. And is all but guaranteed to earn its leading lady a well-deserved standing ovation.

“Les Misérables” is musical theater at its most epic, and calls for an especially magnificent final curtain. This finale starts off on a slow, heartbreaking note as Valjean reunites with Cosette one last time. Accompanied by Fantine and Éponine, Valjean ventures to the afterlife where a choir of other departed souls are waiting for him. Building and building with each passing verse, this production number encompasses a sense of loss while also being victorious. “Do You Hear the People Sing” demonstrates that even when people die, the ideals they fought for live on. Outside of the show, it’s taken on a second life as a political anthem that many use as a form of protest.

What musical finale always gets a standing ovation from you? Let us know in the comments.