History AwesomeMusic / Hamilton

* "Satisfied" is Angelica's chance for the spotlight, which she steals right out from under the rest of the cast. In another show, this song would be petty and spiteful, depicting Angelica as the "woman scorned", but "Satisfied" shows how brilliant Angelica is and how devoted to her sister. And the rapping? Forget it – Lin himself [[WordOfGod says he can't rap Angelica's lines during "Satisfied"]].

* ''The Hamilton Mixtape'', which features an AllStarCast of figures like Music/KellyClarkson, Music/{{Nas}}, Creator/JimmyFallon, Music/BustaRhymes, Music/{{Sia}}, and the Roots reinterpreting the album.

* "You'll Be Back" and it' reprises "What Comes Next?" and "I Know Him" are OutOfGenreExperience at its finest, with the light Britpop melody perfectly contrasting the portrayal of King George as a psychotic {{Yandere}} while Jonathan Groff absolutltey nails the performance and hits some beautiful high notes.

* "You'll Be Back" and it's reprises "What Comes Next?" and "I Know Him" an OutOfGenreExperience at it's finest, with the light Britpop melody perfectly contrasting the portrayal of King George as a psychotic {{Yandere}} while Jonathan Groff absolutltey nails the performance and hits some beautiful high notes

* "You'll Be Back" and it's reprises "What Comes Next?" and "I Know Him" an OutOfGenereExperince at it's finest, with the light Britpop melody perfectly contrasting the portrayal of King George as a psychotic {{Yandere}} while Jonathan Groff absolutltey nails the performance and hits some beautiful high notes

** Watsky's "An Open Letter" ''finally'' gives us a "full" version of one of the show best-loved {{Cut Song}}s, and it sounds great. Plus, it's hilarious.

** Music/ReginaSpektor's version of "Dear Theodosia" captures the sweetness and love of the original, and sounds like an adorable lullaby.

** Dessa's version of "Congratulations" really displays Angelica's anger at Hamilton for his affair.

** K'Naan's version of "Immigrants (We Get The Job Done)" is a celebration of how immigrants and the blending of cultures contribute to the vibrancy of the country, especially timely when anti-immigrant rhetoric is at a high.

* "Who Lives, Who Dies, Who Tells Your Story" is essentially the epilogue of the show, telling how Eliza carried on Hamilton's legacy and tried to restore his reputation in the fifty years that she outlived him. It features some of the most beautiful, brilliant, moving lyrics and vocals in the entire show, and it serves as a perfect closer, while still ending on a bittersweet note. It's also powerful for the fact that while it's the epilogue to his story, it's also still about Eliza's own narrative, about how she carried on after Alexander's death. It's the end of Alexander's narrative, but Eliza manages to continue her own within it. Given her earlier statements in "Burn" about erasing herself from the narrative, it's impressive recognizing that she makes it clear that she eventually had her own narrative to tell, even as she puts herself back in Hamilton's.

* "The World Was Wide Enough" perfectly encompasses the tension that has been building throughout the show in anticipation for the fate duel between Hamilton and Burr. The song begins with what is essentially a reprise to "The 10 Duel Commandments", emphasizing Burr's anger and paranoia that Hamilton intends to kill him, which leads to his heartbreaking line, "This man will not make an [[AdultFear orphan of my daughter]]". Then there's Hamilton's monologue in the middle. Time stops after Burr fires his gun, and there is no music as Hamilton speaks, only the sounds of an ominous wind blowing in the background. He flashes back to arriving to America, the war, and as he reaches the end, he sees Laurens, Philip, his mother and Washington waiting for him. As realization of his imminent death continues to seek in, his last thoughts are of Eliza as he turns back to Burr and raises his gun.

* "The World Was Wide Enough" perfectly encompasses then tension that has been building throughout the show in anticipation for the fate duel between Hamilton and Burr. The song begins with what is essentially a reprise to "The 10 Duel Commandments", emphasizing Burr's anger and paranoia that Hamilton intends to kill him, which leads to his heartbreaking line, "This man will not make an [[AdultFear orphan of my daughter]]". Then there's Hamilton's monologue in the middle. Time stops after Burr fires his gun, and there is no music as Hamilton speaks, only the sounds of an ominous wind blowing in the background. He flashes back to arriving to America, the war, and as he reaches the end, he sees Laurens, Philip, his mother and Washington waiting for him. As realization of his imminent death continues to seek in, his last thoughts are of Eliza as he turns back to Burr and raises his gun.

* "Who Lives, Who Dies, Who Tells Your Story" is essentially the epilogue of the show, telling how Eliza carried on Hamilton's legacy and tried to restore his reputation in the fifty years that she outlived him. It features some of the most beautiful, brilliant, moving lyrics and vocals in the entire show, and it serves as a perfect closer, while still ending on a bittersweet note.
** It's also powerful for the fact that while it's the epilogue to his story, it's also still about Eliza's own narrative, about how she carried on after Alexander's death and continued on. It's the end of Alexander's narrative, but Eliza manages to continue her own within it. Given her earlier statements in Burn about erasing herself from the narrative, it's impressive recognizing that she makes it clear that she eventually had her own narrative to tell, even as she puts herself back in Hamilton's.

* "Who Lives, Who Dies, Who Tells Your Story" is essentially the epilogue of the show, telling how Eliza carried on Hamilton's legacy and tried to restore his reputation in the fifty years that she outlived him. It features some of the most beautiful, brilliant, moving lyrics and vocals in the entire show, and it serves as a perfect closer, while still ending on a bittersweet note.

* "The World Was Wide Enough" perfectly encompasses then tension that has been building throughout the show in anticipation for the fate duel between Hamilton and Burr. The song begins with what is essentially a reprise to "The 10 Duel Commandments", emphasizing Burr's anger and paranoia that Hamilton intends to kill him, which leads to his heartbreaking line, "I will not let this man make an [[AdultFear orphan of my daughter]]". Then there's Hamilton's monologue in the middle. Time stops after Burr fires his gun, and there is no music as Hamilton speaks, only the sounds of an ominous wind blowing in the background. He flashes back to arriving to America, the war, and as he reaches the end, he sees Laurens, Philip, his mother and Washington waiting for him. As realization of his imminent death continues to seek in, his last thoughts are of Eliza as he turns back to Burr and raises his gun.

* "Wait For It" is the IWantSong for Burr, even if he's not sure what exactly he wants. Lin-Manuel Miranda, the writer/composer/star of the show, thinks it's one of the best things he's ever written... and that he stupidly gave it to Burr's actor rather than himself.

* "The World Was Wide Enough" perfectly encompasses then tension that has been building throughout the show in anticipation for the fate duel between Hamilton and Burr. The song begins with what is essentially a reprise to "The 10 Duel Commandments", emphasizing Burr's anger and paranoia that Hamilton intends to kill him, which leads to his heartbreaking line, "I will not let this man make an [[AdultFear orphan of my daughter]]".
** Hamilton's monologue in the middle of the song breaks this troper's heart. Time stops after Burr fires his gun, and there is no music as Hamilton speaks, only the sounds of an ominous wind blowing in the background. He flashes back to arriving to America, the war, and as he reaches the end, he sees Laurens, Philip, his mother and Washington waiting for him. As realization of his imminent death continues to seek in, his last thoughts are of Eliza as he turns back to Burr and raises his gun.

* "Burn," one of the saddest songs in the musical, is just beautiful. Each line cuts at how deeply Alexander's affair hurt Eliza and how angry she is. The album showcases this to good effect, transitioning from the nightmarish churning strings underlying "The Reynolds Pamphlet" to the stripped-down and nakedly emotional piano and harp that opens "Burn". Eliza is being talked about all over town, but she's still horribly alone.
* "It's Quiet Uptown" is ''incredible'' -- a bittersweet song about grief, loss, love, and, amazingly, forgiveness. Eliza and Alexander's reconciliation is both one of the saddest and most heartwarming moments of the show.
* "The Election of 1800", which is about [[ExactlyWhatItSaysOnTheTin exactly what you think]]. It manages to make a political election from over two hundred years ago exciting, with its catchy tune and clever lyrics. Especially the section where Jefferson and Madison are singing about how it "might be nice" to get Hamilton's endorsement, and Burr jumps in with his triumphant "talk less, smile more" refrain, finally entering the political spotlight and showing what he wants for the first time in his life.
* "The Room Where It Happens" has subtly creepy yet incredibly singable lyrics about all sides of an unseen political conspiracy and gives Leslie Odom Jr.'s Burr a gorgeous chance to show off his musical chops... all matched with contagiously memorable shredding on the ''banjo''.

* "Who Lives, Who Dies, Who Tells Your Story" is essentially the epilogue of the show, telling how Eliza carried on Hamilton's legacy and tried to restore his reputation in the fifty years that she outlived him. It features some of the most beautiful, brilliant, moving lyrics and vocals in the entire show, and it serves as a perfect closer, while still ending on a bittersweet note.
* "Non-Stop", the closer to the first act, is an anthem to what a {{Determinator}} Alexander Hamilton was. If you thought a song about writing the Federalist Papers, being part of the Constitutional Convention, and becoming head of the treasury department couldn't sound completely badass, think again. And that moment towards the end when the whole cast sings, "Why do you fight like history has its eyes on you?"... Chills. [[ArsonMurderAndJaywalking And it's remarkably good motivation for doing schoolwork, too.]] In general, this musical makes absolutely exquisite use of leitmotifs, reprises, and repeated lines throughout its run time, but "Non-Stop" takes it a step further by including pieces from at least half, if not more, of the songs from the Act I. If there is one song that really encapsulates Hamilton's overall construction and themes, this is it.
* "Wait For It" is the IWantSong for Burr, even if he's not sure what exactly he wants. Lin-Manuel Miranda, the writer/composer/star of the show, thinks it's one of the best things he's ever written... and that he stupidly gave it to Burr's actor rather than himself.

* "Satisfied" is Angelica's chance for the spotlight, which she steals right out from under the rest of the cast. In another show, this song would be petty and spiteful, depicting Angelica as the "woman scorned", but "Satisfied" shows how brilliant Angelica is and how devoted to her sister. And the rapping? Forget it – Lin himself [[WordOfGod says he can't rap Angelica's lines during "Satisfied"]].
* "Dear Theodosia," where Burr and Hamilton [[ParentalLoveSong sing to their children]] about how they hope to make the new nation a better place for them to live in, and how they trust their children will outdo even their own accomplishments. Known to bring tears to the eyes of fathers and non-fathers alike.

* The opening number, "Alexander Hamilton," gives every cast member an opportunity to show off their voice and does a fantastic job of summarizing Hamilton's life and the hardships he went through before 1776.

* "Guns and Ships", which holds the honor of not only being the fastest song in the show, but one of the fastest songs in BROADWAY HISTORY. At one point, nineteen words are spoken in the span of about three seconds. It's epic, exciting, and all-around incredible.
* "Right Hand Man" with [[BigGood George Washington]]'s entry into the musical, being one of the only times Chris Jackson raps. And boy can he rap.
* "Stay Alive" shows off Hamilton's beginning as the guy who "writes the General's correspondence" as well as leading into "Ten Duel Commandments," an amazing song in its own right.
* "Aaron Burr Sir" and "My Shot" are both amazing songs that transition into one another seamlessly. The two songs have great {{Establishing Character Moment}}s for Hamilton, Burr, Laurens, Lafayette, and Mulligan where each expresses their philosophy and reasons for joining the revolution. It's also impressive to see how Hamilton's influence turn Laurens, Lafayette, and Mulligan's raps from sounding like simple freestyles to rhythmically intricate rhyme schemes.
* "That Would Be Enough" is rather somber, but incredibly heartwarming song about Eliza ''just'' wanting Alexander to be alive so that her son won't grow up without a father and how Eliza doesn't care if they don't have money or legacy, she'll still love Hamilton no matter what. That friends, is love.
* "Your Obedient Servant". If you want to look for a song between two people arguing over their differences until they kill each other, then it's this. This song is a perfect set up for Hamilton and Burr's duel.

* "Your Obedient Servant", if you want to look for a song between two people arguing over their differences until they kill each other than it's this.This song is a perfect set up for Hamilton and Burrs' duel.

* Your Obedient Servant, if you want to look for a song between two people arguing over their differences until they kill each other than it's this.This song is a perfect set up for Hamilton and Burrs' duel.

* "That Would Be Enough" is rather somber, but incredibly heartwarming song about Eliza ''just'' wanting Alexander to be alive so that her son won't grow up without a father and how Eliza doesn't care if they don't have money or legacy, she'll still love Hamilton no matter what. That friends, is love.

* "That would be enough" is rather somber, but incredibly heartwarming song about Eliza ''just'' wanting Alexander to be alive so that her son won't grow up without a father and How Eliza doesn't care if they don't have money or legacy, she'll still love Hamilton no matter what. That friends, is love.

* "Aaron Burr Sir" and "My Shot" are both amazing songs that transition into one another seamlessly. The two songs have great {{Establishing Character Moment}}s for Hamilton, Burr, Laurens, Lafayette, and Mulligan where each expresses their philosophy and reasons for joining the revolution. It's also impressive to see how Hamilton's influence turn Laurens, Lafayette, and Mulligan's raps from sounding like simple freestyles to rhythmically intricate rhyme schemes.

* "Aaron Burr Sir" and "My Shot" are both amazing songs that transition into one another seamlessly. The two songs have great [[EstablishingCharacterMoments]] for Hamilton, Burr, Laurens, Lafayette, and Mulligan where each expresses their philosophy and reasons for joining the revolution. It's also impressive to see how Hamilton's influence turn Laurens, Lafayette, and Mulligan's raps from sounding like simple freestyles to rhythmically intricate rhyme schemes.

* "Stay Alive" shows off Hamilton's beginning as the guy who "writes the General's correspondence" as well as leading into "Ten Duel Commandments," an amazing song in its own right.

* "Guns and Ships", if only for the incredible speed at which the actor has to rap in order to pull it off, and it's representative of the spirit and drive of the revolution.

* "Right Hand Man" with [[BigGood George Washington]]'s entry into the musical, being one of the only times Chris Jackson raps. And boy can he rap...