AHSOKA Season 2 Raises the Musical Bar, according to Composers Kevin Kiner, Sean, & Deana Kiner

How do you create a musical theme for one of the most calculating villains in the Star Wars galaxy? And how does Ahsoka Tano’s music evolve alongside a character who has grown from a young Padawan into a seasoned warrior?

We spoke with composers Kevin Kiner, Sean Kiner, and Deana Kiner about developing the distinctive sounds of Grand Admiral Thrawn and Ahsoka Tano across Star Wars Rebels, Tales of the Jedi, and Ahsoka. They also offered an exciting update on the music for Ahsoka Season 2.

This interview was recorded at San Diego Comic-Con 2026, thanks to White Bear PR. Read on for an interview summary, or watch the video above to see the composers and hear musical examples.

Finding the Sound of Grand Admiral Thrawn

Thrawn’s ominous organ theme immediately distinguished him from other Star Wars villains when he arrived in Star Wars Rebels. According to Kevin Kiner, the unexpected instrument came at the suggestion of Dave Filoni. Kevin admitted that he never would have considered the organ on his own. Deana Kiner said “it felt ‘off limits’ for Star Wars. The unusual choice ultimately gave Thrawn a musical identity that was both imposing and cerebral.

Sean Kiner explained that the goal was not to make the theme entirely villainous. Thrawn sees himself as the hero of his own story – a Moriarty character without his Sherlock Holmes – a brilliant strategist who is several moves ahead of everyone around him. That perspective inspired music containing major-themed elements alongside its more intimidating qualities.

When Thrawn returned in Ahsoka, Deana Kiner expanded upon that musical foundation. The organ’s intricate arpeggios reflect the machinery of Thrawn’s mind: precise, calculating, and constantly working.

Ahsoka’s Theme Grows with Her

Ahsoka’s original theme was the first piece Kevin Kiner composed for George Lucas. At the time, Ahsoka was still a young girl thrust into the middle of the Clone Wars and attempting to discover who she was. Kevin chose the shakuhachi, a Japanese flute with a gentle yet powerful sound, to represent her. Although the theme contains strength and softness, its minor key also introduces a subtle sense of darkness and uncertainty.

As Ahsoka grew into an adult and battle-worn warrior, her music needed to mature with her. While working on Tales of the Jedi, Kevin, Sean, and Deana drew inspiration from samurai cinema and developed what they call Ahsoka’s “Ronin theme.” Its driving rhythm and pedal tones became an important component of her evolving musical identity and are featured prominently in the end credits of Ahsoka Season 1.

Deana also learned to play the flute so she could perform portions of Ahsoka’s music herself. Her performances can be heard throughout the soundtrack, including the haunting sounds accompanying the Ahsoka title card. In some instances, she layered as many as five different flutes, playing them in a variety of tonal and experimental ways. Deana felt she needed to play with Ahsoka as the character grew.

Ahsoka Season 2 Raises the Musical Bar

Kevin revealed that the team is currently mixing the music for Ahsoka Season 2—and believes it is even better than their celebrated work on the first season. The composer team considered Season 1 some of the best music they had ever written, so beginning work on Season 2 was very intimidating. Now, however, the Kiners feels they have surpassed it. Get ready, kids!

Scoring Animation Versus Live Action

Although live-action productions generally offer larger orchestras, major recording studios, and more time, Kevin said his fundamental dramatic approach remains the same.

Traditionally, music for animation was sometimes required to communicate emotions that could not be conveyed through an actor’s physical performance. But as Lucasfilm Animation has become increasingly nuanced and expressive, the Kiners now approach its characters much as they would performers in live action.

Animation also allows for enormous battles and lightsaber duels that might be difficult to realize physically. Live action, meanwhile, can give the music more room to breathe, allowing the composers to take a quieter and more measured approach.

It was a dream of ours to interview the Kiners, we hope you enjoyed this. Let us know in the comments and on our socials!