Elora Danan (Ellie Bamber) in 'Willow'

Every End Credits Song in ‘Willow’ on Disney+, Ranked

The choice to end every episode of Willow on Disney+ with a pop song is pretty weird, and I love it. It doesn’t always work, stylistically, but sometimes it does!

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At this point, I’m guessing Willow fans are clamoring for two things regarding those closing credit songs: a list of every song so that you can build your playlists, and a ranking so that you can make sure you sound cool and discerning in Willow conversations. Don’t worry, I’ve got you. Here are all the songs that play over the closing credits in Willow, ranked from worst choices to best!

Note that I’m not ranking the quality of the songs themselves—I’m looking at how well they work in the context of the episode. Also, be aware that some of these are originals and others are covers.

8. Episode 8, “Money for Nothing” by Dire Straits

In a previous version of this article, I ranked this song at #1 and gushed about how much I loved it in episode 8’s final scene, in which we meet Evil Elora. Then, a full week later, I went back and actually listened to the song, and remembered that it has a whole verse with homophobic lyrics. I won’t judge you if you still love this scene, but I personally can’t enjoy it anymore.

7. Episode 6, “Good Vibrations” by the Beach Boys

Woof, this song choice was a swing and a miss. I think they’re trying to use the upbeat tone of the Beach Boys to end on a lighter note after the dark, creepy atmosphere of the rest of the episode, in which the gang does a dungeon crawl through the Nockmaar castle. The good vibrations in the song also clearly point to the potential love interest that Airk finds when he comes across a mysterious girl trapped in the Immemorial City. But all the song does is undercut any deeper themes the episode might have been trying to develop.

6. Episode 1, “Guess Who’s Back” by BEGINNERS and Night Panda

This song, which drops as soon as Elora finds out her true identity, is clearly pointing to the fact that the True Empress has returned. I get it, but the song choice doesn’t move me after an episode of medieval castles and epic quests. Outside of that context, though, this song is great.

5. Episode 2, “Hurdy Gurdy Man” by Sir Jude

This song, which starts playing as Elora’s first spell takes hold and her seed grows into a plant, has a folk vibe with a modern twist (which is appropriate, since it’s a modern cover of a folk classic). It’s exactly the type of music that you’d expect to hear as a plant magically grows out of the ground, so although it’s not the most exciting of choices, it works.

4. Episode 3, “Enter Sandman” by Rina Sawayama

After a fraught episode filled with death and tragedy, the gang finds themselves in the dark land of Nockmaar, and “Enter Sandman” starts playing as they gaze at the haunted castle they’re going to have to infiltrate. This song brings to mind all the vintage fantasy that I grew up with: Dungeons and Dragons, He-Man, She-Ra, Heavy Metal, and the original Willow. I’m a sucker for nostalgia.

3. Bonus song: “For the Glory” by Kin Palo

Episode 5 doesn’t have a pop song over the credits, so instead, I’m ranking the song that plays over the training montage scene in episode 7. As Elora and Graydon hone their magical skills, the driving beat of “For the Glory” lends the sequence an added layer of purpose and urgency. Plus it makes them look like badasses. As montage songs go, it might be predictable, but it works.

2. Episode 7, “I’m a Wanted Man” by Royal Deluxe

I love the Evil Airk Reveal! That hair! That outfit! A+, 10/10, no notes. “I’m a Wanted Man” more or less ties into what Kit and Elora are looking at, and it’s a perfect musical fit for the mood.

1. Episode 4, “Black Hole Sun” by Nouela

This is the first closing credit song in Willow that really works. After the gang escapes Nockmaar, we cut to Airk, who has found himself stranded in the Immemorial City. As he wanders among crumbling buildings and ruined statues, melancholy piano notes gradually coalesce into “Black Hole Sun.” It perfectly captures the ominous nature of Airk’s predicament.

(featured image: Lucasfilm)

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Julia Glassman
Julia Glassman (she/her) holds an MFA from the Iowa Writers' Workshop, and has been covering feminism and media since 2007. As a staff writer for The Mary Sue, Julia covers Marvel movies, folk horror, sci fi and fantasy, film and TV, comics, and all things witchy. Under the pen name Asa West, she's the author of the popular zine 'Five Principles of Green Witchcraft' (Gods & Radicals Press). You can check out more of her writing at <a href="https://juliaglassman.carrd.co/">https://juliaglassman.carrd.co/.</a>