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“Countdown” by Henry Jackman— This is, I think, the most obvious one, since it’s the score that’s playing around the time this story starts (or is at least close to that point in the movie). I think you can almost visualize the scene progressing when you hear the the pauses and changes in instrumentation.
“Something That I Want” by Grace Potter— For all the choices that Bucky starts to make for himself, particularly in the first few chapters of the story. After the reset, he chooses his own mission, he goes after Starbucks mochas and grilled cheese, and dislikes the sound of the banjo— things that he wants. He starts to choose his own path. He pursues Steve and starts to discover himself in the process.
“Friend Like Me” by NE-YO— This just makes me think so much of Barnes’ attitude on mission: protect. He watches Steve’s unguarded left flank without grumbling (okay, a lot of grumbling, but hey, he’s still there). He ties up goons, keeps surveillance in trees and trains and goes on runs, all with little gratitude (a particular moment 6 feet away on a train comes to mind).
“A Lot of Life Behind Us” by Murray Gold— This is THE cemetery scene, Steve’s grief sitting in front of Barnes’ tomb talking to him, missing him. The angst, the feels, you know what I mean.
“The City’s Yours” by Jamie Foxx— The move to Brooklyn. Steve was hoping that it would open up grand opportunities for Bucky— and granted, it did— just not the one’s Steve was thinking of. Barnes starts to make the city his home in a new way.
“So Long” by Natalie Grant— Not just due to no more physical HYDRA presence, but this song was chosen for Barnes’ decision for “good guy, not-killer.” That he’s going to make a new choice, be a new person, one that Steve can be proud of, one that’s different from HYDRA. Not just a new mission, but a new life.
“Blank Song Space Fight” by The Rogers Family— While this piece is instrumental only, if you know the words to the two songs it mashes up, it seems perfect for that fight in the warehouse, right after Barnes’ makes the decision for “good guy, not-killer.” This is his breakup from HYDRA, take back his life song, and he’s going to make HYDRA feel it.
“Strangers Like Me” by Phil Collins— For the Olds, and also the Hayashis. Barnes’ is so new to this new life and wants to learn so much, and the Olds are opening him up to new worlds of cooking and baking and reading and living and caring and being with people. (Barnes also has a silenced urge to show all these new future wonders to Steve, like a mocha in heat-conserving container).
“Oh, What a Beautiful Morning” by Ramin Karimloo— In honor of all Steve’s early morning runs, particularly the ones right after the warehouse takedown and after he gets Barnes’ plant. Ugh, Steve’s such a morning person. Also a bit of homage to Steve’s beloved— and Barnes’ hated— banjo ringtone.
“Seven Nation Army” by The White Stripes— This is that final HYDRA attack scene to me. Barnes is fighting for his life in every physical and metaphorical respect. Also, the lines “The feeling coming from my bones says, ‘Find a home’” and “The stains coming from my blood tell me, ‘Go back home’” also feel so fitting for that final struggle between mission: kill Rogers and mission: protect. In the end, it did all really come down to where his home was.