The Wrestling Ring Meets the Music Industry: A Tale of Entrances and Copyrights
What happens when a wrestler’s entrance music becomes a viral sensation? It’s a question that’s been buzzing in the wrestling world lately, thanks to Blake Christian and his use of Jack Harlow’s ‘Lovin On Me.’ Personally, I think this story is more than just a footnote in wrestling trivia—it’s a fascinating intersection of sports entertainment, music rights, and the power of social media.
Blake Christian, a nine-year veteran in the ring, recently dropped a video montage set to Harlow’s hit song. The clip went viral, and suddenly, everyone was talking about whether this track could become his official entrance theme. What makes this particularly fascinating is how quickly a simple video can snowball into a full-blown discussion about licensing, branding, and the business side of wrestling.
The Viral Spark: Why ‘Lovin On Me’ Matters
Let’s start with the obvious: wrestling entrances are iconic. From The Undertaker’s gong to Ric Flair’s ‘Also Sprach Zarathustra,’ the right music can define a wrestler’s persona. Blake Christian’s use of ‘Lovin On Me’ tapped into something fresh and modern, which is why it resonated so strongly with fans. But here’s the catch: using a song for an entrance isn’t as simple as hitting ‘play.’
AEW/ROH President Tony Khan recently addressed the situation, revealing that only 1% of the song has been cleared for use. In my opinion, this is where things get interesting. Khan’s comment highlights the complexities of music licensing in wrestling—a topic that’s often overlooked. What many people don’t realize is that securing rights to a popular song can be a logistical and financial nightmare, especially for a sport that thrives on spectacle.
The Business Behind the Beat
If you take a step back and think about it, wrestling promotions are essentially mini-media empires. They’re not just putting on matches; they’re crafting narratives, building brands, and monetizing every aspect of the experience. Music is a huge part of that. A wrestler’s entrance theme isn’t just background noise—it’s a marketing tool, a mood setter, and a way to connect with audiences.
Khan’s plea for Jack Harlow to ‘come in with the other 99 percent’ is more than just a cheeky request. It’s a reminder of how much power artists and labels hold in this equation. From my perspective, this situation raises a deeper question: should wrestling promotions invest more in original music, or is the allure of mainstream hits too hard to resist?
The Cultural Crossover: Wrestling and Music
One thing that immediately stands out is how wrestling and music have always been intertwined. Think of WWE’s partnerships with artists like Motörhead or the countless rappers who’ve performed at WrestleMania. But what’s unique about Blake Christian’s case is how organic it feels. The song wasn’t forced—it was a natural fit that fans embraced.
A detail that I find especially interesting is how this situation reflects broader trends in entertainment. In an era where TikTok can turn a snippet of a song into a global phenomenon, wrestling promotions are under pressure to stay relevant. Using a viral hit like ‘Lovin On Me’ isn’t just about Blake Christian—it’s about AEW/ROH positioning itself as a modern, culturally aware brand.
What This Really Suggests for the Future
If Blake Christian does end up using ‘Lovin On Me’ as his entrance theme, it could set a precedent for how wrestling promotions approach music licensing. Personally, I think we’ll see more collaborations between wrestlers and artists, especially as the lines between sports and entertainment continue to blur.
But here’s the bigger picture: this story is a reminder that wrestling is as much about the business as it is about the athleticism. What this really suggests is that promotions need to be proactive in securing music rights, whether by negotiating with labels or investing in original compositions.
Final Thoughts: The Entrance That Could Change the Game
As someone who’s watched wrestling evolve over the years, I’m intrigued by how this situation will unfold. Will Jack Harlow step in and make it happen? Or will AEW/ROH pivot to another track? Either way, Blake Christian’s entrance music has already sparked a conversation that goes far beyond the ring.
In my opinion, this is more than just a story about a song—it’s a glimpse into the future of wrestling. As the industry continues to grow, these kinds of crossovers will become increasingly common. And if you ask me, that’s something worth paying attention to.
So, the next time you hear a wrestler’s entrance theme, remember: there’s a whole world of negotiations, creativity, and strategy behind those opening notes. And who knows? Maybe the next big hit will come from the wrestling ring itself.
