Spider-Man: Across the Spider-Verse – Live in Concert (2024)

SPIDER-MAN: ACROSS THE SPIDER-VERSE – LIVE IN CONCERT
Music composed by Daniel Pemberton
Music conducted by David Mahoney
Keyboard, whistling, face slaps and Hobie Brown’s electric guitar performed by Daniel Pemberton
Turntable scratching by DJ Blakey
Drum kit performed by Mike Smith
Special guests: Phil Lord, Christopher Miller, Kemp Powers and Daniel Kaluuya
June 30, 2024
Royal Festival Hall
London, England

PART 1: REAL SUPERHEROES

There were no superheroes in capes or masks at last night’s triumphant world premiere of SPIDER-MAN: ACROSS THE SPIDER-VERSE – LIVE IN CONCERT.

Instead, the real superheroes were carrying guitars, turntables, drumsticks, percussion instruments, synthesizers, bows and brass instruments.

But the list of superheroes didn’t end there – other creatives, including the writers and one of the directors, had also come to see their “art” screened to a greatly appreciative and passionate audience.

PART 2: ACHIEVING THE IMPOSSIBLE

On paper, scoring the first animated SPIDER-MAN film, INTO THE SPIDER-VERSE, looked like an extremely tough job for even the most experienced of composers. But uber-talented composer Daniel Pemberton rose to the challenge to deliver a knockout score that fit the film and its sprawling universe like a glove.

With a host of new characters and multiple “spider-verses” colliding in SPIDER-MAN: ACROSS THE SPIDER-VERSE, Pemberton was given an even greater challenge – and once again, he has delivered in spades providing one of the most memorable, innovative and popular scores in a very long time.

Utilizing a wide variety of styles, instruments and original sounds, Pemberton has given an absolute master class in film scoring.

Every piece of music in the film helped propel the story and made us understand the often complex emotions felt by the characters.

His music truly added another dimension (pun intended) to the film, making us root for Miles Morales and his new “band” of heroes.

I just can’t wait to see where they take the story next and how Pemberton and his team of talented performers approach the score.

PART 3: CONCERT REPORT – THE FIRST HALF

The concert started with the night’s conductor, the redoubtable David Mahoney (in a cool Spidey t-shirt no less!), gracing the stage and introducing the musicians for the night: the legendary Mike Smith on drums, the talented DJ Blakey on turntables, the incredible members of the orchestra, and of course composer Daniel Pemberton himself, who came out to the delight of all in his iconic hand-painted ACROSS THE SPIDER-VERSE yellow suit that he wore to the BAFTAs.

Opening with the iconic glitchy film studio logos, Pemberton’s score immediately grabbed the audience with its synth figures, string chords and its earth-shattering* bass. Smith then made his entrance on the drum kit with Pemberton soon following with his instantly recognizable 3-note SPIDER-MAN theme on his custom-painted Hobie Brown guitar. DJ Blakey then joined on turntables to cap off an already sensational opening.

* understatement of the year

Gwen Stacy’s slow and introspective theme came next, telling us of her deep inner turmoil. This segued into her hugely catchy “hero theme,” and I’m sure I wasn’t the only one in the audience bopping my body along to the music.

The theme reappeared in her fight with the Vulture in the Guggenheim, with the audience enthusiastically cheering the appearances of Miguel O’Hara and Spider-Woman.

In the aftermath of the fight when Gwen reveals her true identity to her father, strings and soft synths took over, giving the scene incredible weight and emotion – it was hard not to feel Gwen’s pain.

The main titles (“Across the titles”) then made their entrance, causing the audience to break out into wild and sustained applause.

Driven by remixes of the 3-note SPIDER-MAN theme, the audience was then given an upbeat percussion and scratch-driven reintroduction to Miles Morales.

We were in raptures when the fight with the Spot and the goose scratching music made its highly anticipated entrance – it was a fun and funny sequence bolstered immeasurably by Pemberton’s score and inspired choice of instrumentation.

Soon after the Spot disappears into his own hole (no joke!), there was a dialogue scene between Miles (as SPIDER-MAN) and his father. It is then that Pemberton walked to the microphone and provided a backing beat… via the slapping of his own face!! He would again employ this “instrument” during a latter conversation between Miles and his parents.

A beautiful string-heavy track for the conversation between Miles and his mum on the rooftop then played. It built into a noble but understated brass arrangement of the SPIDER-MAN theme as they reach a mutual understanding about their relationship.

Pemberton again took to the microphone to lend his whistling skills for a scene between Miles and Gwen. It was a slightly mischievous piece highlighting Miles’ embarrassment at having his secret crush revealed.

The first half concluded with Miles’ leap into another dimension in pursuit of Gwen, offering a welcome respite to the musicians after a demanding first half.

PART 4: CONCERT REPORT – THE SECOND HALF

The second half started with Miles’ descent into Mumbattan. Starting purely with synths (pre-records?), it then shifted into live musicians with a handful of percussionists driving the Indian-flavored piece forward.

The appearance of Hobie Brown, a clear fan favorite, had the audience cheering like crazy as Pemberton jumped up and down on stage while belting out Hobie’s grunge-fused theme on that custom-painted Hobie guitar. It doesn’t get cooler than that!

Upon arriving in Nueva York, we were immediately wowed with a futuristic-sounding arrangement of the SPIDER-MAN theme followed by a grand and powerful statement of the theme for brass – I most certainly had the feels during this piece.

I was most looking forward to hearing (and seeing) the incredible finale, “Across the Spider-Verse (Start a Band).” Starting with the ominous elephant-like sounds of Prowler’s theme, this sensational piece was four minutes of unrelenting tension and foreboding as the realization that Miles is in a deep trouble becomes readily apparent.

The 3-note SPIDER-MAN theme then made an entrance, sounding more and more ominous as the orchestra and turntables joined the building cacophony of sound.

And with that, Pemberton took his guitar and positioned himself front of stage to shred like his life depended on it for that unbelievable climax – I really wish I could live that moment over and over again. It was so powerful, satisfying, and perfect – right up there as one of the greatest finales ever.

After a long standing ovation, the conductor, David Mahoney, again spotlighted each soloist before conducting the orchestra through the gorgeous film version arrangement of the end credits song, “Am I Dreaming.”

But Pemberton and his band of heroes had one last card up their sleeve to cap off an already sensational evening: a surprise performance of “Spider-Man Loves You” from SPIDER-MAN: INTO THE SPIDER-VERSE. It sounded GLORIOUS with live orchestra, Smith on drums, DJ Blakey on turntables, and Pemberton on guitar. As soon as the piece ended, the audience immediately got up from their seats and cheered like there was no tomorrow.

PART 5: SOME VERY SPECIAL GUESTS

Unbeknownst to the audience, a few of the creative team had come to the concert and were, as Pemberton put it, “hiding like Spider-Man” somewhere in the audience.

These special guests were called out one by one and included:

• Kemp Powers, director
• Daniel Kaluuya, voice of Spider-Punk
• Phil Lord, writer/producer
• Christopher Miller , writer/producer

After embracing on stage, Phil Lord got on one knee and gave a “hail to the King” gesture to Pemberton. Cool 😊

PART 6: MEETING DANIEL PEMBERTON

After the concert about 40 to 50 fans lined up in wait outside the stage door in hopes of catching man of the hour, Daniel Pemberton.

Not long after he walked out and was genuinely surprised that so many people had waited for a chance to see him.

Although I’d prepared a copy of ACROSS THE SPIDER-VERSE (which I had bought at HMV on Oxford Street only hours earlier!), I instead asked Pemberton to sign my tour poster to which he kindly obliged:

I cannot wait to hang this on my wall!

PART 7: CONCERT MERCH

The tour merch was extremely popular and in fact a few things had already sold out by the intermission including the cap, tote bag, and mug.

I managed to snag two t-shirts (one for me and one for my son), the tour poster and a sticker set.

PART 8: SOME FINAL WORDS

I seriously doubt anyone walked away from last night’s concert not wildly anticipating the next installment of this trailblazing series.

The film’s music and how it is applied to the film is endlessly innovative while being a perfect fit – no other score would have worked, and no other composer could have done a better job than Daniel Pemberton.

At the end of the day, both film and score to SPIDER-MAN: ACROSS THE SPIDER-VERSE deserve to be loudly applauded, meticulously analyzed, and forever remembered for redefining the boundaries, setting new standards of excellence, and standing firm as a true work of art.

Bravo to all involved!

PART 9: OVER TO YOU

Did you also go to this concert? How did you like it?

And what did you think of my report? Feel free to comment below or reach out to me directly in the “Contact Me” section.