Awesome Music / Six: The Musical

• "Ex-Wives" seems a bog standard recitation of the rhyme the Queens are famous for, before they rip that to shreds, basically saying "No, this is OUR story, and we'll be the ones to tell it."
  Queens: Get your hands up, get this party buzzing! You want a Queen Bee?! Well, there's half a dozen!
• "No Way" where Catherine of Aragon points out she never did anything to Henry that would merit divorce (and Aragon was a devout Catholic who opposed divorce to begin with), all to Latin American beats, as a nod to her Hispanic heritage.
  Catherine of Aragon: If you can explain just a single thing I did to cause you pain, I'll go. No? You got nothing to say, I'm not going away, there's no way!
• "Don't Lose Ur Head" seems to be a shallow pop song, but a closer examination reveals it to be an account of how Anne did "lose her head" both literally and by getting carried away.
• "Heart Of Stone" is a soft ballad to what appears to be Henry, but is actually intended for their son, Prince Edward. Especially Seymour's high note near the end; every Seymour absolutely slays it.
• "Haus Of Holbein", a departure from songs about the Queens to instead mock contemporary beauty standards to hell and back, all to an utter earworm of a dance number.
• "Get Down" shows that Anne of Cleves is more than happy having the run of her own castle, and briefly indicating an interest in Protestantism. Brittany Mack (the original Broadway Cleves) brings her opera diva A-game in for a line in "Get Down". The cast recording and other productions have it being a slo-mo effect, but Mack goes in with high notes and operatic diction on "Get down, you dirty rascal!" (the chorus after Cleves' line about the Reformation, specifically) often to audience applause. There's also this moment:
  Anne of Cleves: When I get bored, I go to court. Pull up outside in my carriage, don't got no marriage, so I have a little flirt with the footman, as he takes my fur... (the other Queens pull off her jacket and shorts to reveal a gorgeous Hotter and Sexier number underneath while the audience erupts in cheers, before Mack continues) ...as you were.
• "All You Wanna Do": Like Boleyn before her, seems to be a shallow song, but is really a cutting commentary on how she was abused by the men in her life. Most actresses portray her pulling a full Heroic BSoD by the song's end. The contrast between the studio version and an actual performance is stark. Aimie Atkinson (West End) restrained her breakdown on the album for practical reasons (as she would have to record the song at least several times, doing an emotionally grueling performance take after take would exhaust her). Samantha Pauly (Broadway) on the live album had no such restrictions and went full tilt, with Howard sobbing and screaming her lines by the end.
• "I Don't Need Your Love", a "Dear John" Letter in musical form, is as powerful/empowering as it is tragic. Catherine Parr spells out for the audience (and Thomas Seymour) what she wants to say to Henry's offer of marriage, but ended up concluding that she had no choice except acceptance if she wanted to live. The remix is a list of her achievements as a learned woman in a time where very few women were even literate, let alone become accomplished, leading to the queens collectively declaring that they're taking back control and they no longer need Henry's love.
• "Six", besides being the title number, is a touching look at what might have happened in better circumstances to the queens, while acknowledging this is just ONE interpretation of the events.
• "Megasix" is an energetic mash-up/megamix of the other songs. As it's typically performed after the show ends, the audience is allowed to record it and the hype just goes through the roof.