Chicago Broadway soundtrack: A jazz-fueled musical phenomenon

With its sultry jazz score, dazzling choreography, and biting satire, Chicago remains one of Broadway’s most iconic musicals at the Ambassador Theater. Since its 1996 revival, this Tony Award-winning show has captivated audiences with its sizzling Chicago Broadway soundtrack, featuring legendary numbers like All That Jazz, Cell Block Tango, and Razzle Dazzle.

Unlike traditional musicals, Chicago presents most of its songs as vaudeville acts, blending razzle-dazzle showmanship with sharp social commentary. Whether you're a die-hard fan or new to the magic of Chicago, let’s dive into every song that makes this musical a timeless Broadway masterpiece.

All That Jazz

The show opens with a bang as Velma Kelly welcomes us into the world of speakeasies, murder, and showbiz. As she performs in a nightclub, her crime is unfolding backstage—her sister and husband lie dead, and Velma is about to be arrested.

Funny Honey

Roxie Hart convinces her loyal husband, Amos, to take the fall for her lover’s murder. But when Amos realizes Roxie was cheating on him, he drops his confession. The song shifts from devotion to disdain as Roxie sneers at her “scummy, crummy, dummy hubby.”

Cell Block Tango

Six women in Cook County Jail share their murderous tales, each insisting their crime was justified. From cheating husbands to unfortunate misunderstandings, they declare, "If you’d have been there, if you’d have seen it, I betcha you would’ve done the same."

When You’re Good to Mama

Matron "Mama" Morton runs the jail on a system of favors—help her, and she’ll help you. This sultry blues number cements Mama’s power, making it clear that in Chicago, money and influence make the world go ‘round.

All I Care About

Enter Billy Flynn, the smooth-talking lawyer who claims he only cares about love—not money. Of course, this is all an act, as he is the master of manipulating the justice system for the right price.

A Little Bit of Good

Mary Sunshine, a naïve and sentimental reporter, insists that even criminals have goodness in them. This satirical song mocks the media’s tendency to glamorize and sympathize with the guilty.

We Both Reached for the Gun

At a press conference, Billy Flynn puppeteers Roxie into a perfectly crafted sob story. She plays the innocent, manipulated woman, and the press eats it up. The song is staged as a ventriloquist act, with Roxie as Billy’s dummy.

Roxie

Roxie revels in her newfound fame, imagining herself as a glamorous star with backup dancers and flashing lights. Her narcissistic dream is clear—she doesn’t care about the trial, just the headlines.

I Can’t Do It Alone

Desperate to stay relevant, Velma pitches a new vaudeville act to Roxie, hoping to partner up once they’re both free. Roxie, basking in her own fame, rejects the idea outright.

My Own Best Friend

Roxie and Velma realize they can’t rely on anyone but themselves. This powerful duet (cut from the movie) marks their determination to survive Chicago's cutthroat world.

I Know a Girl

Velma laments Roxie’s effortless rise to fame, frustrated that no one sees through her lies and manipulations.

Me and My Baby

Roxie fakes a pregnancy to stay in the headlines. This upbeat number, exclusive to the Broadway production, has her celebrating her imaginary baby while the press eats up the story.

Mr. Cellophane

Amos, Roxie’s neglected husband, sings about how he is invisible to everyone around him. This heartbreaking song is one of the show’s most poignant moments, highlighting the cruelty of fame and ambition.

When Velma Takes the Stand

Velma envisions her own over-the-top courtroom performance, complete with fake tears and dramatic pauses. While this song was cut from the film, its humor and irony make it a fan favorite on Broadway.

Razzle Dazzle

Billy Flynn gives Roxie one final lesson: trials aren’t about justice, they’re about putting on a good show. With smoke, mirrors, and a little showbiz magic, anything is possible—including a jury acquittal.

Class

In this hilariously ironic duet, Mama Morton and Velma bemoan the lack of “class” in society—despite both being deeply involved in corruption and crime themselves.

Nowadays

Now free, Roxie is devastated to find that fame is fleeting. With no career prospects, she finally teams up with Velma, realizing that together, they can still dazzle audiences.

Finale (Hot Honey Rag)

Roxie and Velma close the show with a dazzling vaudeville routine, proving that crime and corruption may fade, but the hunger for fame never does.

Ready to experience it live? Get your tickets to Chicago on Broadway and let the Chicago Broadway soundtrack transport you to the world of murder, fame, and all that jazz!