A Definitive Guide to the Chicago Songs

Posted on Jul 10, 2024 | By Carly Clements-Yu

From the brilliant brains of Kander and Ebb, the Chicago songs changed musical theatre forever. First staged in 1975, the sexy and scandalous show based on Maurine Dallas Watkins’ play of the same name brought jazz and razzle-dazzle to the masses. The Chicago characters are complex creatures whose numbers drive their narrative while critiquing the 1920s media. Want to find out more? Here are all you need to know about the Chicago songs.

All the Chicago songs in order

Act One

All That Jazz

The opening number and reprised throughout the show, 'All That Jazz' is probably the most famous and beloved of the Chicago songs. Performed by Velma, it invites the audience to embrace hedonism and prepare for a good time. Laced with cynicism, it comments on people’s selfishness and disregard for the law. It appears at the end of Act One and Act Two with the latter performed by all the Chicago characters.

Funny Honey

After Roxie kills her paramour in her marital bedroom, she convinces her husband, Amos, that the victim is a burglar. To protect his wife, Amos takes the blame and Roxie sings 'Funny Honey' to show appreciation for his blind loyalty while noting his downfalls.

Cell Block Tango

When Roxie arrives at Cook County Jail, we’re introduced to six inmates all incarcerated for killing their lovers. Each inmate shares the details of their crimes and the lack of remorse, highlighted by the lyrics “he had it coming.” Among them is Velma, who admits to being involved with, but not murdering her husband and sister. Even though she claims she wasn't directly involved with the act, she is pleased with the outcome.

When You’re Good to Mama

The Matron for Cell Block Tango, Mama Morton will scratch your back if you scratch hers. In 'When You’re Good to Mama', Mama explains her bribery system in a grand display of big beats and even bigger notes. It provides further commentary on the corruption of the justice system from arrest to conviction.

All I Care About

When Roxie enters the prison, Velma becomes aware that the young vaudeville wannabe is stealing her spotlight. After Roxie convinces her gullible and trusting husband to fork out on the best lawyer, Velma realises Roxie plans to steal her attorney. 'All I Care About' is our intro to the best defence lawyer in Chicago, Billy Flynn. The shark is thrilled to have more fame-hungry women as his clientele.

A Little Bit of Good

Realising Amos doesn’t have the money to pay him, Billy decides to turn Roxie’s case into a media circus. As part of his plot, he turns to columnist Mary Sunshine. We’re introduced to the ambitious journalist as she confesses her belief that everyone has good in them, even if they don’t show it.

We Both Reached for the Gun

Turning Roxie’s first press conference into a ventriloquist act, Billy dictates a new version of events while Roxie silently mouths the words. In this updated version, both she and her victim, Jack, reach for the gun, and she shoots him in self-defence.

Roxie

With a new story and media buzz, Roxie relishes her new celebrity status. In this eponymous song, she boasts about her future career as a vaudevillian and how famous she will become.

I Can’t Do It Alone

Desperate and at a loss, Velma needs to raise her profile and turns to Roxie. Reflecting on the successful double act she had with her sister, she propositions Roxie to join forces to get them both in the headlines. Though Roxie turns her down, a new crime of passion has overshadowed both women.

My Own Best Friend

Realising they can only count on themselves, Roxie and Velma express their determination and solitude. Knowing they can only count on themselves, they each concoct a plan. Roxie’s is to pretend she’s pregnant.

Act Two

I know a Girl

Welcoming the audience back, Velma is resentful of the manipulation of the system and narrates Roxie’s dubious actions - including her seduction of the doctor who has declared her pregnant.

Me and My Baby

Continuing the pregnancy ruse, Roxie gleefully sings to her unborn child while Amos celebrates his new status as a soon-to-be dad. However, Billy Flynn has other ideas about Amos’s role.

Mr Cellophane

The proud dad-to-be laments that even as the father of a famous baby, no one notices him. While likening himself to cellophane, we hear about his sad existence, making us pity and empathise with the witless husband.

When Velma Takes the Stand

Velma prepares for the stand and shows Billy all the tricks and stunts she’s planning for the courtroom. Roxie looks on with scepticism.

Razzle Dazzle

After she rashly fires Billy, Roxie is filled with fear and nerves when her court date finally arrives. Running back to the sleazy lawyer, Billy tells her she’ll be fine as long as she puts on a show.

Class

After watching Roxie steal all Velma’s tricks and stunts during her deposition, a downbeat Velma and Mama reflect on the state of society, and the fact that no one has any decency.

Nowadays

Roxie and Velma are acquitted of their crimes and come together as a double act. Though everything works out for the murderess pair, they reflect on bittersweet modern life and the fleeting nature of the status quo.

Hot Honey Rag

After Mary Sunshine is revealed to be a man, he becomes the vaudevillian duo’s promoter and pushes them to be hotter and sexier.

Where can you see Chicago the musical?

Chicago has had a rich history in the West End - with stints at the Cambridge Theatre, Adelphi Theatre, Garrick Theatre, and the Phoenix Theatre, and it's currently on a UK tour. Although it is not currently on in the West End, you may catch a couple of criminals returning to the capital after their regional stint.