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Gepubliceerd op 13-05-2026 , 16:12

Hoe 'Heated Rivalry' zijn opvallende soundtrack uit onwaarschijnlijke bronnen bouwde

Showrunner Jacob Tierney, componist Peter Peter en muzieksupervisor Scotty Taylor vertellen over de score, songkeuzes en complexe clearances die de Crave-HBO Max hockeyromance vormden

Praise has poured in for Heated Rivalry since its debut on Crave and HBO Max. Critics and viewers have highlighted the show's premise, performances and especially its music, which functions almost as another lead character and has boosted the profiles of several Canadian artists.

The series follows the secret relationship between Canadian forward Shane Hollander and Russian star Ilya Rozanov. Its score and song choices deliberately avoid the obvious, much like the central romance itself.

Peter Peter Delivers an Original Score That Mirrors the Story's Emotional Arc

Montreal singer-songwriter Peter Peter created the original score for the six-episode first season. It was his first time writing for television or film. The music shifts with the characters, moving from colder, more mechanical textures early on to warmer, more intimate passages as the relationship deepens.

I was having a hard time trying to imagine the music for the sex scenes. At first I thought it would be a lot of action, with fast editing and that kind of thing, so I was leaning towards techno for those scenes. But I sent demos to Jacob and it was used by the editors in early cuts, and when I saw it with the up-tempo techno on the intimate scenes, I was like, 'Oh no, I'm ruining everything here!' So I just started again from scratch, and it was really love-based more than anything, more about two people being together. I just wanted to keep their intimacy with something warm.

— Peter Peter, composer, Panel discussion at the Departure Festival and Conference in Toronto

Tierney Wrote Specific Songs Into the Script Before Production Began

Showrunner Jacob Tierney had music in mind from the start. He wrote Wolf Parade's 'I'll Believe in Anything' directly into the script and had several other tracks earmarked for key moments. He reached out to Peter Peter early because he admired the composer's album 'Ether' and wanted that same blend of electronic edge and emotional depth.

I always have music playing when I write, and I was writing this show to Peter's album 'Ether,' in particular. I had been a huge fan of his for many years, and 'Ether,' if any of you know Peter's music, is quite different: It was so interesting for me to watch somebody who had basically been making a kind of bedroom pop move into electronic music. There's an earnestness to it, a romance to it, a heart-on-your-sleeve quality that I absolutely love.

— Jacob Tierney, showrunner, Panel discussion at the Departure Festival and Conference in Toronto

Music Supervisor Scotty Taylor Cleared a Mix of Canadian and International Tracks

Music supervisor Scotty Taylor worked with Tierney to place songs that felt right for each scene rather than following a strict genre or demographic rule. The result includes two tracks each from Wolf Parade and Feist, plus cuts from French-Canadian artists Philippe B and Satine. British acts Wet Leg and Harrison also feature prominently.

Tierney pushed for female voices in several sequences and insisted on Wet Leg's 'Mange Tout' for the opening of episode two, even though the 2022 track sits outside the show's early-2010s setting. He loved its anarchic energy and felt it captured the attitude of the Russian character Ilya.

The Team Tackled Licensing Challenges for T.A.T.u's 'All the Things She Said'

One of the most discussed choices was the extended use of T.A.T.u's 2002 hit 'All the Things She Said,' which plays alongside Harrison's 2022 cover in a pivotal nightclub scene. The original video featured two teenage Russian singers kissing, a moment that later drew controversy when the performers distanced themselves from it.

I mean, honestly, I resisted that song because it's so... That song came about very late in the process, and then it was very scary because 'How the fuck are we going to actually pay for it?' We wanted Russian music, and I, of course, wanted queer stuff wherever I could. And finally, I was like, well, frankly, there's only one big hit in this department that also works in a nightclub scene, and it's that song. And that song's ownership is shady as fuck, who knows who owns it? It is deeply complicated, it is unpleasant in a lot of ways, and it just worked so fucking well in the scene. I think there was enough of a kind of fuck-you to Russia in it that I was OK with that part of it: Like it or not, this is a big gay song. And I'm gonna make it even gayer right now!

— Jacob Tierney, showrunner, Panel discussion at the Departure Festival and Conference in Toronto

Classical Influences and Practical Budget Realities Shaped the Final Sound

Peter Peter drew inspiration from the main theme in Stanley Kubrick's 'Barry Lyndon,' specifically Handel's 'Sarabande,' to give the score a noble quality that matched the characters' quest for love. Tierney also incorporated Beethoven's 'Moonlight Sonata' for key emotional beats and planned an entire episode in season two built around Mozart's 'Requiem.'

Budget constraints kept the team away from expensive contemporary hits. Tierney avoided chasing tracks that defined 'Brat summer' and instead leaned into the bespoke score Peter Peter delivered. The result feels distinct from other shows airing at the same time.

The Soundtrack Has Boosted Careers and Created Lasting Goodwill for Season Two

Streaming numbers for Wolf Parade, Feist and other featured artists rose sharply after the show aired. Wet Leg told Tierney the placement changed the trajectory of their album. Peter Peter has gained new recognition as a composer, and artists have begun sending music directly to the production team for season two.

No, I have the same budget for next season, but what I have now is good will, I have people who want to be on the show. That has literally never happened to me before in my many years of doing this. Usually, you always kind of pitch to a musician, 'Well, if you give me the song for like $5,000, then maybe eight new people will hear it.' But this time, it's like, look what happened with Wolf Parade and Feist and Harrison and look what's happening to Peter. I just had lunch with Wet Leg and they were like, 'It changed everything for this album,' and I was like, that's fucking amazing.

— Jacob Tierney, showrunner, Panel discussion at the Departure Festival and Conference in Toronto
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