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AEW entrance music is chosen case by case, with reported examples showing wrestlers, AEW president Tony Khan and music producer Mikey Rukus contributing ideas. Some walkouts use original themes; others use existing songs that AEW has to clear for the intended use. A wrestler’s taste, the fit with a character and the practical timing of rights clearance can all shape the result. Interviews document examples, not a single public rulebook for every AEW entrance.
How do AEW wrestlers choose their entrance music?
The choice begins with what the entrance is meant to say about the performer. A song might connect to a wrestler’s established identity, help introduce a new chapter, reflect personal taste or match a character’s personality. The reported accounts show those considerations being weighed alongside the wrestler’s preference and the feasibility of making or clearing the music.
Mikey Rukus, AEW’s music producer, described the process as dependent on the wrestler’s idea and Tony Khan’s direction: “It all depends on what their idea is for their entrance theme and what Tony has in mind.” He said a conversation can involve him from the beginning. That description suggests collaboration, not a fixed sequence in which one person always makes the final choice.
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Who contributes to the decision?
The wrestler brings taste and character knowledge
A wrestler can suggest a song they already like, help define the sound of an original theme, or weigh in on whether an experiment feels right. Hook’s selection of Action Bronson’s “The Chairman’s Intent” is a clear example of personal taste driving a proposal. Hook told Pitchfork in December 2021, “I’ve been an Action Bronson fan since I was in sixth grade.” He said his father, Taz, also liked the choice.
Personal preference does not mean a wrestler necessarily works alone or has an unrestricted right to use any track. Hook’s example proceeded through an arrangement involving AEW, the artist and the publishers. It shows that a wrestler can have a strong idea while the company still has to make the use workable.
Khan and Rukus help shape or enable the idea
Khan’s comments connect creative direction with the decision to use a track, while Rukus’s accounts describe his role in developing original music and checking outside songs. Their involvement can help turn a broad character idea into a specific theme, or determine whether an existing recording can be used for the planned appearance.
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The available interviews do not establish a formal approval chart, identify every person involved in each decision or say that the same roles apply identically to all wrestlers. It is more accurate to describe the process as collaborative and case by case than to assign a universal decision-making hierarchy.
Original theme or licensed song?
The two routes solve different creative problems. An original composition can be shaped around a wrestler’s character or a creative direction. A released song brings an existing performance and identity, but AEW must secure permission for the intended use. Neither route is shown to be the default for every wrestler.
| Consideration | Original composition | Existing released song |
|---|---|---|
| Starting point | A wrestler’s concept and creative direction can guide the theme. | A wrestler or creative lead may propose a song that already exists. |
| Character fit | The music can be developed to evoke a particular identity or chapter. | The song’s sound, lyrics or existing association may reinforce a persona. |
| Rights step documented in the examples | The cited accounts do not describe a comparable outside-song clearance process for original AEW themes. | AEW must check and clear the outside track for the intended use; the examples include publisher discussions and television clearance. |
| Illustrated by | Sting’s AEW theme. | Hook’s use of “The Chairman’s Intent” and Jon Moxley’s “Wild Thing.” |
| What the examples do not establish | A standard production schedule, cost or fixed approval process. | A typical licensing fee, clearance duration or rule that every request will be approved. |
The table describes what the reported examples show, not a full accounting of AEW’s music catalog or contracts. The sources do not establish how frequently AEW uses either approach.
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What do AEW’s documented music choices show?
| Wrestler or example | What the account says | What it illustrates |
|---|---|---|
| Sting | Rukus said Khan wanted to revive the Crow-style identity while making a theme for Sting’s new AEW chapter. The account describes looking back at earlier versions of Sting’s music. | An original theme can draw on a performer’s established identity without simply reproducing an earlier theme. |
| Hook | Hook proposed Action Bronson’s “The Chairman’s Intent,” a song he had liked for years. Khan said AEW reached an arrangement with the publishers and paid a fee. | A personal favorite can become a licensed entrance song when the necessary arrangement is made. |
| Orange Cassidy | Khan said “Where Is My Mind?” suited the character partly because of the lyrical connection to Cassidy’s inscrutability. | Lyrics and character meaning can contribute to a song’s fit, rather than the choice resting on sound alone. |
| Will Hobbs | Khan said Hobbs tried a track from the Who We Are compilation but preferred his established original theme for arena and match entrances. | An experiment may not replace an existing theme when the wrestler prefers the familiar option. |
| Jon Moxley | Moxley said “Wild Thing” was initially considered for a one-off, but the rights did not arrive in time. AEW later used X’s version. Moxley said, “But if the people like it, I like it. So that’s all that matters.” | Clearance timing can affect whether a song is available for a particular appearance, and a choice can evolve. |
Fightful’s March 5, 2022 report described Who We Are as telling the stories of more than twenty Black AEW wrestlers through music by established hip-hop and R&B artists. That description applies to the compilation report; it is not a count of AEW wrestlers using any particular kind of entrance music.
How do lyrics and character shape a walkout?
A theme can communicate a character before the wrestler reaches the ring. Khan’s comments about Orange Cassidy point to a specific kind of fit: the meaning of “Where Is My Mind?” could echo the character’s inscrutability. With Hook, Khan described “The Chairman’s Intent” as fitting the wrestler and energizing the presentation. Those explanations show that a track can be judged for both its connection to the persona and the feeling it contributes to the entrance.
Sting’s theme illustrates a related but distinct goal. Rukus said Khan wanted to evoke the Crow style and identity while making a theme that began a new AEW chapter and stood on its own. In that example, the creative challenge was not simply to repeat a familiar sound; it was to connect a recognized character with a new setting.
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These are explanations of creative intent, not measurements of audience response. The cited accounts do not quantify whether a song makes a wrestler more popular, produces a particular crowd reaction or improves a match presentation. Hobbs’s preference for his established theme shows why familiarity may matter to the performer, but it does not establish a measurable crowd effect.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.How does AEW get the rights to popular entrance songs?
The accounts establish a practical requirement rather than a universal licensing formula: an outside song has to be cleared for its intended use. Rukus said AEW checks who produced an outside track and works to get it cleared for television. In Hook’s case, Khan said the company contacted the publishers, reached an arrangement and paid a fee. The sources do not provide the fee amount, contract terms or a general breakdown of which rights are involved in every case.
Timing can matter. Moxley’s account of “Wild Thing” describes a proposed one-off for which rights did not arrive in time, followed by later use of X’s version. In a September 18, 2026 Wrestling Inc. account, Austin Creed described a short clearance window for A$AP Ferg’s “New Level.” These are examples of different timing circumstances, not evidence of a standard turnaround time or a promise that a request can be cleared quickly.
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Rukus’s account also underscores that identifying a track is not the same as having permission to use it on television. If a clearance does not arrive for the planned appearance, the song may not be usable then. The public examples do not say what alternatives AEW considers in every such case, so it would be speculation to describe a standard backup plan.
What can fans infer—and what remains unknown?
Interviews offer a useful view into selected choices, but they do not amount to AEW’s complete music policy. They do not establish a typical budget, how often songs are licensed rather than composed, how long a normal clearance takes, or exactly who has final sign-off on every theme. Nor do they document the full staging workflow for lighting, video, camera cues or entrance timing.
For the walkout itself, the evidence supports a narrower conclusion: music can be selected to introduce or reinforce a persona, and it can be connected to a particular debut or character moment. Hook’s track accompanied his in-ring debut; Sting’s theme was designed to connect his Crow identity to a new AEW chapter. The interviews do not explain how AEW coordinates those musical choices with every visual or technical element of an entrance.
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The accounts cited here appeared in 2021, 2022 and 2026: Pitchfork’s December 10, 2021 report on Hook, Action Bronson and Khan; Wrestling Inc.’s January 24, May 20 and August 2, 2021 reports on Khan, Rukus and Moxley; 411MANIA’s April 1, 2022 report of Rukus’s Fightful interview; Fightful’s March 5, 2022 report on Who We Are; Wrestling Inc.’s January 24, 2022 report on Khan’s comments about Hook and Orange Cassidy; and Wrestling Inc.’s September 18, 2026 account of Creed’s comments. They document individual examples and should not be treated as a representative survey of every AEW entrance.
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