12 Times AEW Was Better Than Literally EVERYTHING
5. Whenever AEW Hit The Music
The stereo output of Mikey Rukus and licensed themes is a massive AEW selling point.
AEW perhaps hasn’t captured the grand majesty of All Japan’s ‘90s library, nor classic era WWF’s ability to soundtrack the distinct personality of its crazed cast of wrestlers. (Though Timeless Toni Storm’s comes very close). Also, and this is crucial and very annoying, AEW does not turn the volume up on the TV feed anywhere near loudly enough.
Still, the themes. The themes that aren’t the new Kazuchika Okada theme.
Hangman Page boasts no less than two incredible compositions. One sets the tone of a man who lives to persevere; the other is the menacing sound of that same man finally succumbing to the dark. FTR’s Giorgio Moroder soundalike is too brazen even for Jimmy Hart, but it’s still class. Eddie Kingston’s theme brilliantly distils the aggression, anguish, and dogged spirit of his persona.
Brody King’s own God’s Hate face-melter is as hard as any wrestling theme ever. There are other, infinitely more significant reasons to wish-cast an Adam Cole return. His incredible theme remains one of them.
AEW can’t claim credit for many themes, which were ported from other promotions - but they still play them. This is a promotion blessed with blaring out Katsuyori Shibata’s theme, the Pixies, and Willow Nightingale’s five star bop, all on the same night.
Khan’s love of the game is so ardent that he’ll spend appalling sums of money to make the moment soar as highly as it should: the Darby Allin balcony dive to the Final Countdown was sensational.