The Sound of Surrender: How ‘Heated Rivalry’ Became Television’s Unlikely Musical Phenomenon

In the crowded landscape of prestige television, the success of Heated Rivalry—the Crave-HBO Max series tracking the volatile, high-stakes romance between Canadian hockey star Shane Hollander (Hudson Williams) and Russian phenom Ilya Rozanov (Connor Storrie)—has been as sudden as it is seismic. While critics have lauded the show for its nuanced performances and tight, tension-filled writing, a more unexpected element has emerged as the series’ true emotional heartbeat: its soundtrack.

Far from the generic pop-laden scores that define much of modern streaming content, Heated Rivalry utilizes music as a central character, one that does not merely accompany the action but dictates the show’s internal rhythm. The result has been a rare cultural synergy where the show has revitalized the careers of veteran Canadian indie artists and established a unique sonic identity that has captivated audiences globally.

The Genesis of an Auditory Landscape

The musical blueprint for Heated Rivalry was drafted long before cameras began rolling. Showrunner Jacob Tierney, a noted audiophile, did not rely on a traditional music department to build the soundscape from scratch. Instead, he looked to the Montreal-based singer-songwriter Peter Peter.

For Peter, who had never composed for film or television, the assignment was daunting. Tierney’s vision was specific: he wanted a score that moved with the characters, accentuating their internal states without feeling intrusive. "I was writing this show to Peter’s album Ether," Tierney explained during a panel at Toronto’s recent Departure Festival and Conference. "There’s an earnestness to it, a romance to it, a heart-on-your-sleeve quality that I absolutely love. I wanted to see if he could translate that into the narrative world."

Peter’s transition from bedroom pop to electronic scoring was a process of trial and error. Initially, he attempted to mirror the high-octane environment of professional hockey with techno-heavy tracks for the show’s intimate scenes. However, upon reviewing the early edits, he realized he was misreading the subtext. "When I saw it with the up-tempo techno on the intimate scenes, I was like, ‘Oh no, I’m ruining everything here!’" Peter recalled. He scrapped the initial demos, pivoting toward a warmer, more tender aesthetic that reflected the burgeoning emotional connection between Hollander and Rozanov.

Chronology of a Creative Pivot

The show’s narrative arc—which prioritizes physical attraction before unraveling deep, complex feelings—is echoed in the evolution of the score. This "bait-and-switch" technique is intentional.

• Early Development: Tierney and music supervisor Scotty Taylor curated a list of "must-have" tracks. Wolf Parade’s "I’ll Believe in Anything" was written directly into the script, serving as a pillar for the show’s tone.
• Production Phase: As the show moved into production, the collaboration between Tierney, Taylor, and Peter intensified. While Tierney had firm ideas about certain cues, he allowed the music to be selected based on the immediate needs of the scene rather than a rigid genre mandate.
• Post-Production/Release: Upon release, the show’s impact on streaming metrics was immediate. Songs by veteran acts like Feist and Wolf Parade saw massive spikes in listenership, effectively reintroducing mid-2000s Canadian alt-rock to a new, younger demographic.

The "All the Things She Said" Controversy

Perhaps the most discussed musical choice in the series is the inclusion of T.A.T.u.’s 2002 hit "All the Things She Said." The song appears in a pivotal scene, utilizing both the original version and a 2022 cover by Harrison.

The decision was fraught with ethical and logistical complexity. The original T.A.T.u. video—infamous for its manufactured, awkward display of teenage queer intimacy—has since been disavowed by the performers, who have also faced criticism for anti-LGBTQ rhetoric in later years. For Tierney, the decision to include the song was a calculated risk meant to explore the harsh realities of the show’s Russian backdrop.

"I resisted that song because it’s so… complicated," Tierney admitted. "But we wanted Russian music, and I wanted queer stuff wherever I could. There’s only one big hit in this department that also works in a nightclub scene—and it’s that song. It is deeply complicated, it is unpleasant in a lot of ways—and it just worked so fucking well."

The clearance process was described by music supervisor Scotty Taylor as a "plate of spaghetti." Negotiating the rights required high-level phone calls and intense debate, particularly regarding how the song would be framed within a series about a gay relationship. By "making it gayer" through the context of the scene, Tierney felt he was reclaiming the track from its problematic origins.

Supporting Data and Industry Impact

The data emerging from the show’s success highlights the power of "sync" (synchronization licensing) in the modern era. Songs that had long since faded from the mainstream consciousness are now topping charts again.

• Streaming Surge: Feist and Wolf Parade have reported significant increases in daily streams, directly attributed to their prominent placement in key emotional scenes.
• Emerging Talent: French-Canadian artists like Phillipe B and Satine have received massive exposure, bridging the gap between Canadian indie and the North American mainstream.
• International Appeal: The inclusion of tracks by British outfit Wet Leg, despite their lack of relevance to the show’s early-2010s setting, proved that Tierney’s prioritization of "attitude over accuracy" resonated with audiences.

"I didn’t give a shit about the time frame," Tierney said regarding the choice of Wet Leg’s "Mange Tout." "I just love that song and it was the right kind of anarchic and queer combination for the scene."

Official Responses and Creative Philosophy

The collaboration between the showrunners and the musicians has fostered a unique sense of mutual respect. For many of the featured artists, Heated Rivalry has served as a second act. Spencer Krug of Wolf Parade, a long-time associate of Tierney, noted that the show’s influence has been tangible.

The show’s success has shifted the power dynamic in how the production acquires music. In the early days, Taylor and Tierney were the ones begging labels for access. Now, the roles have reversed. "I have people who want to be on the show," Tierney noted. "Artists have reached out and been like, ‘Please use my song!’ That has literally never happened to me before in my many years of doing this."

This shift has provided Tierney with a "good will" budget that is perhaps more valuable than a monetary one. It allows the show to maintain its bespoke, authentic sound without succumbing to the pressure of using expensive, over-licensed pop hits that carry too much "cultural baggage."

Implications for the Future of TV Soundtracks

As Heated Rivalry looks toward a second season, the question of maintaining this high standard remains. Tierney insists that the budget will remain largely the same, but the show’s expanded cultural footprint will offer new opportunities for creative experimentation.

The show’s success offers a roadmap for future series: prioritize the narrative function of music over the commercial viability of a song. By avoiding the "sad song for a sad scene" trope and opting for choices that are sometimes uncomfortable, sometimes obscure, and always deliberate, Heated Rivalry has proven that the audience is craving a more sophisticated auditory experience.

Whether it is through the haunting influence of Handel’s "Sarabande" or the high-energy, messy nostalgia of a T.A.T.u. track, the music of Heated Rivalry serves as a mirror to its characters: complex, sometimes contradictory, and ultimately, deeply human. As the series continues, it is clear that the sound of the show will remain as vital to its success as the scripts themselves, solidifying the production as a landmark moment in the intersection of television and modern music.