The moment in a song where the refrain comes around for one last time, tempo dramatically slows down, and volume increases to full. Tempo often increases a few bars after for a flashy finish.

Common in modern production numbers, where the entire ensemble gets to sing and tap their hearts out. It doesn't have to be the entire chorus, though... or from a musical.

Often used to lead into a BigRockEnding. Compare TruckDriversGearChange.
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!!Examples
* "Lookin' Out My Back Door" by CreedenceClearwaterRevival.
* "Side By Side By Side" from ''{{Company}}'': "Okay now, ev-'ry-bo-dy..."
* ''HelloDolly!'' does this with its title song... [[UpToEleven TWICE!]]
* The most characteristic example from ''LaCageAuxFolles'' is the title song, but "Masculinity" and "The Best Of Times" also have this.
* Then there is also the act one finale to ''Mame'', which is the title song. [[SerialEscalation TWICE!!]]
* "SpringtimeForHitler" from ''Film/TheProducers''. [[RefugeinAudacity F**KING TWICE!!]]
** "The Inquisition" from ''Film/HistoryOfTheWorldPartI''.
* The title song of ''Theatre/{{Cabaret}}'' is a solo version of this, slowing down (with TruckDriversGearChange) to begin the final strain ("Start by admitting from cradle to tomb").
* The Sinatra version of "New York, New York" is another solo example.
* "American Pie," by DonMcLean.
** And, by extension, [[Music/WeirdAlYankovic Weird Al's]] [[Film/ThePhantomMenace The Saga Begins]].
* "Black Diamond" by Music/{{KISS}}.
* Right at the end of "[[Music/{{Queen}} Bohemian Rhapsody]]."
** As if those last two weren't long enough already.
* "That's Death" from the Literature/{{Discworld}} adventure game ''VideoGame/DiscworldII: Mortality Bytes''.
* "Return to the Sea" from ''MermaidMelodyPichiPichiPitch'' goes a little too far with this one. When it slows down, it also changes its tune enough that, until the full version came out on the CD, people thought the last part was a different song.
* "Castles Made of Sand" by Jimi Hendrix. Slowdown? Check. ("And so castles made of sand... slip into the sea... eventuallyyy.."). Normal end? Yeah, that too. (The slide guitar melody from the intro is repeated with added reverb)
* One song in the RhythmGame ''[=O2Jam=]'', "Identity part II," does this, and, if you're playing it on Hard difficulty, you are then suddenly greeted by rapid scales and [[DifficultySpike a charlie foxtrot of notes]] arranged to form a word in Korean hangul. The latter is humanly impossible to clear without missing any notes.
* "Powerslave" by Music/IronMaiden.
** "Run to the Hills" also.
** "The Thin Line Between Love and Hate" (though it doesn't play the entire chorus).
* Music/TheRollingStones' "Ruby Tuesday".
* "House of the Rising Sun" played by The Animals. Only in the instrumental portion at the ''very'' end, after the lyrics are done.
* "Your Cover's Blown" by [[Music/BelleAndSebastian Belle & Sebastian]].
* RufusWainwright ''loves'' this trope.
* "Zehn kleine Jägermeister" by Die Toten Hosen.
* "Playboys of the Southwestern World" by Blake Shelton uses a last chorus slowdown, but only on the first half of the last chorus.
* 99 Luftballoons/Red Balloons.
* "Masquerade" from Theatre/ThePhantomOfTheOpera is a prime example of this. The last repetition is much slower, and louder, than the rest of the piece. However, it doesn't speed up again, but rather suddenly falls sideways into a minor key when the Phantom enters, and then gets cut off.
* "Be Our Guest" from ''Disney/BeautyAndTheBeast''.
** Oh, it gets better... The eight-minute extended version of "Be Our Guest," heard in the stage version, lampshades this!
-->'''Cogsworth''': OH NO!! ''NOT THE KICKLINE!!!!''
* "Prince Ali" from ''{{Disney/Aladdin}}''.
** In the Broadway version of the same show, there's also "High Adventure," originally written for the film and restored for the Broadway musical.
* The Dropkick Murphys' version of Johnny, I Hardly Knew Ya does this epically.
** Dropkick Murphys love this trope in general. "Black Velvet Band" and "Skinhead on the MBTA" are just a few other examples that come to mind.
* "God Bless the USA" by Lee Greenwood does this, complete with drumline and dramatic cymbal crash after "Stand up."
* "A-RA-SHI" by Arashi
* "[[Music/LedZeppelin Stairway to Heaven]]".
* ''Babylon'' by Music/{{Edguy}}
* "They Both Reached For The Gun" from ''Theatre/{{Chicago}}''.
* "Shoot to Thrill" by Music/{{ACDC}} fakes out one of these, because the song gets back to its normal speed just before the end.
* The full version of the ''HeartcatchPrettyCure'' [[AnimeThemeSong opening theme]] could be considered as having this... except it's a Second-to-Last Chorus Slow Down.
* The full-length version of WebVideo/TheAngryVideoGameNerd's ThemeTune.
* Creature Feature's [[http://www.youtube.com/watch?v=f1C4xP1ikY4 ''Such Horrible Things'']].
* MeatLoaf's Bat Out of Hell does this several times. Actually it's more of a Bridge Slow Down, but whatever.
* The title song of ''VictorVictoria'', at least in the ScreenToStageAdaptation.
* BillyJoel's "Miami 2017 (Seen the Lights Go Out on Broadway)"
* "Family Snapshot" by PeterGabriel.
* While a bit hard to distinguish, {{REM}}'s song "What's the Frequency, Kenneth?" supposedly slows down during the last chorus. WordOfGod says the band noticed bassist Mike Mills looked pained during recording and slowed down somewhat, and Mills was taken to the hospital afterwards[[note]]Both the recording and the tour for ''Monster'' were quite the TroubledProduction: every band member save Peter Buck fell ill or required medical attention at least once[[/note]].
* "Magical Mystery Tour" by Music/TheBeatles.
* Played straight in "Come On Eileen" by Dexy's Midnight Runners, but then subverted as the song ends up slightly faster than how they started!
* "The Cliff" by the Red Army Chorus. "...udaloye zhityo aaaaataaaaammaaaaaaannnaaaaaa...."
* Arch Enemy has quite some songs ending like these. A couple examples would be "The Last Enemy" or "Nemesis".
* Music/{{Megadeth}} has "A Tout le Monde" and "Trust".
* Music/{{Opeth}}'s "The Drapery Falls" kind of ends like this. "Deliverance" as well (though the "rock" ending after the LastChorusSlowDown is rather long).
** "Rather long" here means that the song extends for another four minutes after the last chorus. You know - longer than the average rock or pop song. And this four minute extension is home to some awesome riffs in a [[UncommonTime bizarre time signature.]]
* PowerMetal band Cellador has the song "No Chances Lost" ending like this.
* Music/{{Metallica}}'s "Nothing Else Matters".
* Frequently done with the final verse of John Philip Sousa's "Stars And Stripes Forever", although Sousa probably didn't originally write it that way, seeing as how it's a ''military march'' and all.
* Also frequently done with the final chorus of "The Battle of the Hymn of the Republic", usually paired up with the most stirring, heartfelt, tear-jerking moment of a patriotic speech or battle.
* Parodied in some productions of ''Theatre/ThePiratesOfPenzance'' during the number "With Catlike Tread" starting with the Joseph Papp NYC revival. Some productions take this to further extremes by performing as many as [[OverlyLongGag SEVERAL encores]] to this particular moment, each slower and louder than the one before, regardless of the inevitable fatigue.
** Also from the same play, "I Am The Very Model of a Modern Major General" frequently gets this treatment. Then ''inverted'' to all hell if an encore is called for (which is likely). It's fairly common for a Major-General Stanley who can handle it to say to the conductor "''Presto agitato, sil vous plais, Maestro''" ("''Very'' quick, if you please, Master").
* In ''Theatre/{{Pippin}}'', "Glory" does this in the section when the full ensemble starts singing "The gates of heaven await" to a slow rock beat, with a big "you ain't seen nothin' yet" flourish.
* TheStoneRoses' "I Wanna Be Adored".
* "Raise This Barn" from the ''WesternAnimation/MyLittlePonyFriendshipIsMagic'' episode "Apple Family Reunion".
* Music/{{Weezer}} does this arguably twice on their Pinkerton album, once in "Pink Triangle" and a lesser example in the interlude of "The Good Life".
* Willie Nelson's version of "Blue Skies" (originally composed in 1926 by Irving Berlin) does this not once, but ''twice''. Towards the end of the song, the chorus reappears at half tempo - that is, what notes normally would have been crotchets (quarter notes) are now minims (half notes); and then it happens again: the notes are now four times as long as they were originally, and the original crotchets are now semibreves (whole notes).
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