Live Review: Hans Zimmer @ AEC Arena 15/10/26

INT. AEC ARENA – NIGHT

SFX: Rain, thunder, storm

A large group of people gather for a concert. Programs in hand, the people make their way to various seats. THE REVIEWER sits in a row of seats. HANS ZIMMER enters with BAND MEMBERS whilst THE REVIEWER writes...

In the darkness of the stage, a pounding synth began. The large modular synthesiser was lit up, displaying the cables and switches programmed for the night. The opening suite for the concert was from The Dark Knight and The Dark Knight Rises. Different band members entered and joined in seamlessly to build a wall of sound from the outset. Zimmer started near the modular synth but made his way to the front of the stage, donning a guitar. To add even more layers, a choir framed the multi-level stage to complete the musical onslaught.

"I usually work in a dark room and don't get to see people...I'm trying to do that now," Zimmer joked with us. It would be the first of many interactions of the night, as Zimmer would introduce pieces or the musicians highlighted in the sections. Dune was the next suite, showing off the vocal talent of Loire Cotler, who featured on the original soundtrack. Her beautiful voice was exemplified by the band’s perfect synchronicity.

Unlike other film music concerts which include excerpts or images from the films, Hans Zimmer Live allows for an open interpretation rather than a fixed idea. The Man of Steel section was a fitting example, as there was no iconography of Superman. Instead, the "hero" of the piece was guitarist Guthrie Govan, taking up the spotlight and displaying his superhuman skill. "New improvisations fall out of his brilliant skull every night," said Zimmer, praising Govan, who seemed humbled by the comment.

"And now for something different," Zimmer announced as Cellist Mariko, adorned in crimson and wielding her black and gold cello, delivered a piece from Hannibal – 'To Every Captive Soul'. Frescoes appeared on the screen behind her, slowly washed with crimson themselves. The choir framed Mariko with candles in hand, creating a sombre and sinister moment. This was followed by 'Chevaliers de Sangreal' from The Da Vinci Code, with an increasingly complex design appearing on the screen. The violins became the main part of this piece, with violinist (amongst other roles) Molly Rogers taking the lead for the piece.

Zimmer spoke again about the context of the next piece, reflecting on his home in London, which was surrounded by uncouth individuals and rowdy, inconsistent music from the pubs. Of course it led to Sherlock Holmes, with guitarist Nile Marr swapping his guitar for a banjo and pianist Eliane Correa switching to the piano accordion. The mean streets of London centred on the musicians at the front whilst blood splattered on a map of London on the screen. As a different approach, for the next suite from Gladiator, Zimmer stated he "made it up" as who knows what ancient Roman music sounded like. Special guest Lisa Gerrard delivered an eloquent vocal among the powerful and sombre end to the first set.

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After intermission, the drone of the French horns and synths introduced the second half. Band members were now dressed in black and silver, almost gothic in nature. Marr took centre stage for the Inception piece – an intense start. Zimmer followed this up with an introduction to a majority of the band. As much as he wants to steer away from the spotlight, he humbly acknowledges those who are integral parts of the live performance.

The next three pieces displayed the diversity of Zimmer's work. Pearl Harbor highlighted the beauty of a film score, creating another character only through sound and noise. Then, F1 showcased the fast-paced energy a score can create for the viewer, with the bassists taking to the front of the stage, creating a pulsing and intense experience. Interestingly enough, the Dune Two suite continued the bass focus, with Juan García-Herreros distorting his instrument to almost sound mechanical and artificial. Cotler returned for a beautiful duet between voice and guitar with Govan. "It's a sound you don’t often hear," Zimmer added after the suite.

Reflections from Zimmer continued. The composer talked about the origin of the Interstellar score, which received the biggest cheer of the night, before silence filled the room as the otherworldly vocals pierced our souls. However, the most incredible moment was seeing a human mirror ball suspended in the glistening lights whilst the suite continued. Many people were not sure whether to look at the stage or the mirror figure, as both were as incredible as the other.

The silence and light were broken by The Lion King, a popular choice for the audience. The childhood memories came flooding back with singer Lebo recreating his signature vocals alongside his daughter Refi Morake. The suite went through the highs and lows of the first half of the film, almost having me tear up during 'Mufasa Dies'.

Instead of the normal on/off encore skit, Zimmer asked, "Would you like to hear something else?" We cheered in agreement. The Pirates Of The Caribbean suite would end the night, with Govan and Rogers battling it out on their respective instruments during 'The Kraken'. Zimmer had one more piece left – 'Time' from Inception. He started alone with just a piano at the top of the stage as the rest of the performers slowly joined in, but the final notes would be for Zimmer to play.

Hans Zimmer has had an extensive career, and this selection of pieces could have been from a plethora of other films. However, the setlist allowed for Zimmer and his amazingly talented band to deliver a performance like no other.

INT. AEC ARENA – NIGHT

HANS ZIMMER and BAND MEMBERS exit the stage.

CUT TO: THE REVIEWER leaving his chair and exiting the AEC Arena, knowing he had just witnessed greatness. End.