SPIDER-MAN: INTO THE SPIDER-VERSE – LIVE IN CONCERT
Music composed by Daniel Pemberton
Music conducted by Hirofumi Kurita
Performed by members of the Tokyo Philharmonic Orchestra
Whistling, pen clicking, PC keyboard tapping, and electric guitar by Daniel Pemberton
Scratch DJing by DJ Blakey
August 19, 2024
Pacifico Yokohama National Convention Hall
Yokohama, Japan
PART 1: INTRODUCTION
I don’t think I’ve ever gone home after an orchestral concert with a tired foot before.
But sure enough, this is exactly what happened after two and a half hours at the spectacular Japan premier of SPIDER-MAN: INTO THE SPIDER-VERSE – LIVE IN CONCERT.
From the many choice needle drops to Daniel Pemberton’s sensational trap beat-infused orchestral score, I was pretty much tapping my foot away for the majority of the concert.
DJ Blakey, scratch DJ extraordinaire and performer on the film’s original soundtrack, was also on hand with select members of the Tokyo Philharmonic Orchestra to provide power, warmth, and a wicked helping of “cool.”
PART 2: THE PACIFICO & A SPECIAL GIFT
Pacifico Yokohama National Convention Hall was the stage for the film’s live-to-concert performance on an extra balmy summer evening.
All those that had purchased a ticket during a certain window months before general sales began were given a special “picture ticket” on arrival.
These picture tickets would have been much more special if our names and seat numbers had been printed on them. Hopefully next time!
PART 3: CONCERT MERCH
Upon walking into the lobby we were greeted to a small merch area selling Spider-Verse-related media such as CDs, records and blu-rays (standard and 4K).
To the right of the media table was the clothing stand where hoodies and t-shirts were on sale.
The hoodies sold out before the end of the concert, so many of those wanting to buy one walked away disappointed… I am happy to report though that similar hoodies are available on the official (international) Spider-Verse concert merch website here. Check it out!
PART 4: A CHANCE ENCOUNTER
As I was about to ascend the staircase to the auditorium about twenty minutes before the show started, a familiar face suddenly walked by: DANIEL PEMBERTON!
Flabbergasted, I squirmed “Mr. Pemberton!?”
Grinning, he raised his finger to his lips and went, “shhhh” 😊
To my surprise, nobody had noticed him walking through the lobby, but I knew it was him as I’d met him only two months earlier at the world premiere of SPIDER-MAN: ACROSS THE SPIDER-VERSE – LIVE IN CONCERT in London.
I quickly shook his hand and wished him good luck.
Before he walked away, he stopped to shake my son’s hand too. I’m pretty certain my son had no idea who this man was and why he was shaking his hand!
Nevertheless, as soon as Pemberton had walked away from view, I turned to my son and said, “YOU JUST MET DANIEL PEMBERTON, YOU LUCKY PUG!!”
I don’t think the significance of this meeting has quite dawned on his 7-year-old mind yet, but it will someday!
PART 5: THE FIRST HALF
After a slight delay, select members of the Tokyo Philharmonic Orchestra and esteemed conductor Hirofumi Kurita graced the stage to a hero’s applause.
DJ Blakey was then introduced by the MC, with Pemberton soon following suit. And speaking of suits, Pemberton was decked out in his now iconic hand-painted SPIDER-VERSE yellow suit that he first wore to the BAFTAs earlier this year.
(as no pictures or videos were allowed, the above is my pic from the ACROSS THE SPIDER-VERSE London concert where he wore the same outfit)
An opening speech
Pemberton then whipped out his notes and began to make some opening remarks in Japanese to the surprise and approval of the audience.
As a native English speaker with far from good Japanese skills, I know how hard it is to deliver a speech in Japanese, but to do it in front of an audience of four thousand? Dang. And nice one Mr. P!
From what I could discern from his speech, he mentioned that he was very happy to be in Japan for the first time, and that while movies are usually enjoyed in silence, he wanted the audience to cheer, get involved and have a good time at this concert.
It was a nice speech that received warm and appreciative applause.
And with that the concert began with the iconic glitchy logos sequence.
(Please note: No videos or photos were allowed during the performance, so I’ll post official clips from YouTube for your reference)
Opening Titles
As soon as the logos sequence ended, the percussive and wildly catchy opening title crawl began, with DJ Blakey immediately raising the excitement level to 12 with his bad-ass scratch DJing.
The family theme
We got our first taste of just the orchestra with what I call the “Family theme” – the music that underscores Miles and his father’s conversation in the police car before he heads off to his new school. This touching theme sounded more prominent and organic than the film version as it was with live orchestra only and amplified. It was short, but sweet.
A whistling virtuoso
My eyes were fixed on the screen as Miles is lying in bed after having been bitten by a radioactive spider. As the scene progressed, I started to notice an unusual sound: a high-pitched, whistling kind of sound. I then turned my head to the stage and realized why: Pemberton was whistling into his microphone. Coupled with electronics to give the piece a somewhat off-kilter but fun vibe, it was an amusing moment that got a few chuckles out of the people sitting around me.
When Pemberton’s “solo” was over, he sat, smiled and gave a quick thumbs up to the audience.
Percussive fun
The scene with Miles standing half-naked on the walls outside his school building was marked by one of my favourite short pieces, with the electric bass, drum, and percussion section of the Tokyo Philharmonic delivering a fun and rollicking piece.
The Amazing Spider-Man
In the epic fight between Chris Pine’s Spidey and Green Goblin, there was a glorious orchestral arrangement of the Spider-Man theme – albeit in a different key – as Spidey goes up to destroy the collider. The performance here was full of drive and heroism; an instant earworm.
Prowler’s theme and pre-records?
For the ominous Prowler’s theme and most other pieces that had synthesized music without orchestral backing, I believe pre-records were used? I did see Pemberton at the keyboard a few times for those pieces, but I’m certain it was mostly pre-recorded and played back over the auditorium’s speaker system.*
* please correct me if I am wrong!
Miles’ theme, the family theme & the critical importance of the horn
As Chris Pine’s Spidey lies mortally injured, Miles’ Spidey theme appears in a noble, electronics-free arrangement. The torch has been passed to Miles, and the open-ended statement on the horn suggests that Miles has a destiny to fulfill. All credit to the horn player for imbuing this scene with grace and sensitivity.
Miles returns home crestfallen, and the family theme once again appears. It was a painful scene supported with great empathy and love by the orchestra. Just gorgeous.
Lying in bed, Miles realizes that he must act, and his Spidey theme on horn returns with a sense of, “what if I can actually do this?”
Scared of the dark: Spider-Man is dead
This might be an animated film about a superhero, but damn, this entire scene is a hard watch. I could see and hear a few people around me weeping. The genius of this song is that it incorporates chords from Miles’ Spidey theme – a subtle hint that he will rise above this tragedy and become the new Spider-Man.
Baby steps
After MJ’s eulogy is the scene where Miles does his “Spider Training.” I love this sequence because the music plays it straight while the scene is hilariously funny.
Introducing Peter B. Parker
The introduction to Peter B. Parker in the cemetery is marked with similar heroic music to Chris Pine’s Spidey.
As Peter B. reminisces about his relationship with MJ, gorgeous and melancholic piano music is played. What sounded like a real grand piano was simply a member of the Tokyo Philharmonic banging away at a digital keyboard. Nice.
A masterclass in scratch DJing
When the police find Miles and Peter B. in the cemetery, an absolute masterclass in scratch DJing begins.
Percussion starts to build, driving the piece forward, with DJ Blakey starting to go wild on the turntables.
The scene continues as Miles is being dragged along by the S Train with an unconscious Peter B. in his arms. Again, percussion, the drum kit and DJ Blakey own this sequence, coercing the most foot-tapping out of me – and everyone else I imagine – for the whole night.
I had to laugh in surprise when DJ Blakey scratched the moment Peter B. is grinding against the bus window. I’m pretty sure it’s not his scratch DJing in the finished film!
1st chair of the Keyboard Orchestra
Peter B. drops into a room at Alchemax to steal data from a PC. While I couldn’t hear or see it clearly at first, Pemberton was back in the spotlight showcasing his hidden talent of “playing” PC keyboards LIKE A BOSS.
Daniel Pemberton: Pen clicker extraordinaire
In the aftermath of their escape from Alchemax, Kingpin is seen looking into the distance and clicking his pen. Pemberton is again called into service, perfectly timing his pen clicks to match the music and what’s happening on screen.
As Kingpin flashbacks to the loss of his family, a tragic and melancholy piece plays. It’s hard not to feel for him.
Miles’ Spidey theme: Hope is in the air
As Miles looks into the glass costume case and the reflection of Spider-Man it creates on him, his Spidey theme plays, this time more hopeful than before. The orchestra plays it perfectly, encouraging Miles to keep going.
A turning point
When Miles is tied up in his room and realizes that he is not cut out to be Spider-Man yet, his father visits and tells him what he needs to hear: that there is spark inside him and that whatever he chooses to do, he’ll be great.
What’s up danger: A Case Study in Genius
With new found confidence and determination to fulfill his destiny, Miles leaps off a building to see if he can really pull himself up and become Spider-Man.
As this entire sequence is building, we hear two songs playing simultaneously: 1. Blackway & Black Caviar’s “What’s Up Danger”, and 2. Miles’ Spidey Theme.
Coupled with the images and carefully placed dialogue of family members pushing him to go forward, I really cannot think of a better example of the perfect marriage between instrumental score, song and film.
I have no idea what thought process went into this scene, and who thought of the idea of blending song and score, but IT IS PURE GENIUS*. And at the concert on Monday night, it received TREMENDOUS applause.
* “pure genius” that is unfortunately yet to be released on CD or streaming platforms! — DEAR SONY: FIX. THIS. ASAP. – With love & gratitude, EVERYONE
PART 6: THE SECOND HALF
Spider-Man is in the house
Our heroes have journeyed to Kingpin’s underground facility, and Doctor Octavius is about to kill Peter B. Just before this happens, “Miles Morales Returns” with a huge crowd-pleasing rendition of the Spidey theme.
Loud, loud, loud
The entire end sequence was EXTREMELY loud, with the orchestra, and especially the percussion section, going into overdrive.
Dialogue was practically inaudible for this part (and a few others to be honest), so loud was the music and effects.
Catharsis
When the collider explodes and Kingpin has finally been defeated, Miles’ Spidey theme rises from the ashes triumphant – there is no hint of self-doubt or turning back – everything has been set right again. The new Spider-Man has arrived.
Here comes “The one”
Next came the part that I had been waiting for the entire concert: Pemberton and gang performing the ultimate version of Miles’ Spidey theme, “Spider-Man Loves You.”
I knew it was coming because I had been staring at Pemberton’s guitar the whole night and waiting for him to pick it up and play.
Well, all my waiting was rewarded with a SPECTACULAR and UNIQUE performance of “Spider-Man Loves You.”
With DJ Blakey going crazy on the turntables, and the percussion, synths and orchestra joining in on the fun, it was impossible NOT to love this heroic and inspiring expression of the heart and mind of our new Spider-Man.
The part that I loved most about this piece, and what was certainly unique in this performance, is the music that underscores the part when Miles says, “When I feel alone, like no one understands what I’m going through, I remember my friends who get it.”
The music briefly slows and takes a breather here (refer to time marker 1:11 to 1:17 in the above video), with the brass section taking the melody. In the original soundtrack recording, the brass part is not really emphasized, but in the concert on Monday night, the brass really came out and made their mark.
I mentioned earlier that less than two months ago I went to the world premiere of ACROSS THE SPIDER-VERSE in London, and I actually recorded this very same piece when it was performed during the specially arranged end credits. You can view my recording on my X account here:
As you can clearly hear, this London performance is just like the original soundtrack recording, with the brass part being less prominent.
In any case, Monday night’s performance sounded GLORIOUS, and when Pemberton finally took up his guitar and joined the piece, I was in super hero and film score heaven!
As the beats and orchestra grew louder and louder, the piece climaxed as Miles is falling and says “… because I’m Spider-Man.”
It is then that the audience went berserk, clapping a storm like there was no tomorrow!
PART 7: A SPECIAL END CREDITS SCORE SUITE
Rather than start the end credits with “Elevate” by DJ Khalil, we were instead treated to a specially arranged score suite that started with DJ Blakey and orchestra taking us through another fun performance of “Only One Spider-Man.”
A few more pieces followed until a gangbusters performance of the Spidey theme by just the percussion and DJ Blakey. The full orchestra soon joined, leading to a final show-stopping reprise of “Spider-Man Loves You.”
After the applause finally died down, the post-credits scene introducing Miguel O’Hara was played to the amusement of all.
And with that, the evening ended… not before Pemberton said a few final words to the audience in Japanese of course 😉
PART 8: A REVIEW TO END ALL REVIEWS
Right after the concert, as we were walking back to the car park, I asked my son what he thought about his first ever live concert. Without skipping a beat he said, “This is the best day of my super life!!”
Honest, concise and about 2,800 words less than his dad’s laborious review.
PART 9: A FINAL THANK YOU
I can only end this report by thanking Daniel Pemberton and “the band” for not only providing a perfect introduction to the world of live music for my son, but also for cementing his interest in film music – he can now readily identify the music of and name three of my favourite film composers: John Williams, Lalo Schifrin, and now, “Pemberton” (he has trouble remembering the “Daniel” part!)
Pretty impressive for a 7-year-old soundtrack fan!
PART 10: SPIDEY AND BEYOND
I have now had the extreme fortune of seeing both INTO and ACROSS THE SPIDER-VERSE in concert with Daniel Pemberton and DJ Blakey performing live on stage.
All that remains is to see BEYOND when it is finally released… hopefully in the not too distant future 😊
***
Here’s one last song for the road:
PART 11: 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.
