The Devil You Know Lyrics – Side Show

Song Overview

Song Credits

• Featuring: Norm Lewis
• Producer: Harold Wheeler; Michael Berniker; Henry Krieger
• Composer: Henry Krieger; Bill Russell
• Release Date: December 9, 1997
• Genre: Pop; Musical Theater
• Label: Masterworks Broadway
• Track #: 5
• Language: English
• Album: Side Show (Original Broadway Cast Recording)

Song Meaning and Annotations

“The Devil You Know” is an ensemble-driven warning set against a brassy, almost gospel-inflected backdrop—a surprising fusion for a show about sideshow performers. The track opens with Jake’s lone voice, cautious and measured, then blooms into a full-company call-and-response. There’s a rhythmic pulse, almost a march, underlining the perpetual tension between fear of the familiar and the risk of the unknown. As the song unfolds, we move from hushed counsel to rousing group chants, tracing an emotional arc from silent doubt to communal conviction.

Within the context of a late-’90s Broadway cast recording, this number stands out for its theatrical swagger and moral complexity. The lyrics lean on proverbial wisdom—“The devil you know beats the devil you don’t”—yet subvert it by suggesting that the “known devil” might still be less dangerous than a stranger’s empty promise. Musically, the arrangement weaves bright horns and steady percussion, giving the piece both bite and buoyancy. It’s a cautionary anthem that doubles as an irresistible stage moment, blending the familiar pop idioms of the era with classic musical-theater flourishes.

“The devil you know / Beats the devil you don’t”

This refrain anchors the song’s core paradox: fear of the unfamiliar can trap you, yet the devil you trust may wear the heaviest chains.

“We don't work / In the best of situations / We don't live very well”

The raw honesty of these lines confronts the troupe’s marginalized existence, setting up the tension between their current hardships and the uncertain promise beyond the tent.

Jake’s Solo

Jake opens with a quiet hesitation, sharing hard-won lessons as though he’s both guide and survivor. His measured delivery frames the familiar devil as instructive, if unforgiving.

Ensemble Chorus

When the company joins—roustabouts and featured acts trading short lines—the song pivots to a collective voice. The pulsing rhythm underscores solidarity: together, they face the devil they know.

Fortune Teller Sequence

The fortune teller interlude teases hope, imagining an angel in disguise. But the surrounding cast’s sharp retorts quickly snap that dream back into gritty reality.

Jake’s Final Plea

In the closing bars, Jake acknowledges the allure of a “fine-lookin’, dream-spinnin’” devil unknown, yet circles back to the devil he’s learned to live with. It’s equal parts resignation and defiance.

Similar Songs

1. “Cell Block Tango” from Chicago
   In both numbers, a chorus of characters delivers a moral lesson through tightly woven, rhythmic dialogue. “Cell Block Tango” uses percussion and staccato vocals to narrate cautionary tales, much like “The Devil You Know” employs horns and ensemble shouts to warn against trusting outsiders. Each track blurs the line between storytelling and dance, crafting a theatrical moment where drama and groove propel the narrative. Both pieces feature a central refrain—“He had it coming” versus “The devil you know”—that sticks in the mind long after the curtain falls. The shared use of call-and-response heightens the communal feel, making the audience complicit in the caution.
2. “Take Me or Leave Me” from Rent
   Though a duet rather than a full company number, this song captures the push-and-pull of acceptance versus rejection—akin to weighing the devil you know against the one you don’t. The fierce vocal interplay between Maureen and Joanne mirrors Jake and the troupe’s urgent back-and-forth, driven by raw emotion and a rock-infused pop-rock arrangement. Both songs hinge on defiantly stating one’s terms: either accept the flawed present or face an uncertain future. The emotional stakes—love or survival, trust or risk—resonate equally in both Broadway-staged anthems.
3. “Consider Yourself” from Oliver!
   This welcoming ensemble number flips the script: rather than warning against the unknown, it invites an outsider into the fold. Yet musically and structurally, it parallels “The Devil You Know” in its use of upbeat rhythms, bright brass lines, and communal callouts. Both songs leverage the power of group vocals to shape the listener’s emotional response—one to caution, the other to comfort. Each tune underscores the idea that belonging, or the lack thereof, defines one’s safety net in a harsh world. They bookend themes of exclusion and inclusion within musical theatre’s greatest ensemble moments.

Questions and Answers

What is the proverb at the heart of this song?

“The devil you know beats the devil you don’t” illustrates the tension between staying with familiar hardships versus risking unknown dangers.

Who is Norm Lewis?

Norm Lewis performs the role of Jake in this track, lending his resonant baritone to the song’s opening solo and final plea.

Where does this number appear in the show?

It is the fifth track on the Side Show cast recording, appearing after “Like Everyone Else” as the company considers leaving the safety of their sideshow world.

Who wrote “The Devil You Know”?

Music by Henry Krieger with lyrics by Bill Russell.

What themes does the song explore?

Familiarity versus risk, communal solidarity, and the paradox of fearing the devil you know more than the one you don’t.

Awards and Chart Positions

• 1998 Tony Award nominations: Best Musical; Best Original Score; Best Book of a Musical; Best Performance by a Leading Actor in a Musical (Norm Lewis)