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Grizzly Bear’s Daniel Rossen Announces Debut Solo Album, Shares New Song: Listen

By Nina Corcoran

Grizzly Bear ’s Daniel Rossen has announced his first-ever solo album. It’s called You Belong There and it’s due out April 8 via Warp . He’s breaking the news by also sharing the lead single, “ Shadow in the Frame .” Check it out below.

Spanning 10 tracks, You Belong There explores the “uncharted territory of adulthood” that follows the restlessness of youth, according to a press release. The album follows Rossen’s lone solo EP, 2012’s Silent Hour/Golden Mile , and the 2018 single “ Deerslayer .” Grizzly Bear’s last album, Painted Ruins , came out in 2017.

In support of the new record, Rossen will embark on a tour of North America, the United Kingdom, and Europe this spring. The 34-date trek kicks off on March 27 in Austin, Texas and concludes on June 19 in Vancouver, Canada. Find the full list of tour dates below.

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You Belong There :

01 It’s a Passage 02 Shadow in the Frame 03 You Belong There 04 Unpeopled Space 05 Celia 06 Tangle 07 I’ll Wait for Your Visit 08 Keeper and Kin 09 The Last One

Daniel Rossen:

03-27 Austin, TX - Antone’s 03-30 New Orleans, LA - Toulouse Theatre 04-01 Atlanta, GA - Variety Playhouse 04-02 Nashville, TN - Exit/in 04-03 Asheville, NC - The Orange Peel 04-05 Washington, D.C. - Miracle Theatre 04-06 Philadelphia, PA - Underground Arts 04-08 Somerville, MA - Crystal Ballroom 04-09 Brooklyn, NY - Brooklyn Made 04-11 Montreal, Quebec - Le Ministere 04-12 Toronto, Ontario - Great Hall 04-14 Chicago, IL - Lincoln Hall 04-15 Minneapolis, MN - Icehouse 05-07 Hamburg, Germany - Kulturkirche Altona 05-08 Berlin, Germany - Passionskirche 05-10 Munich, Germany - Freiheitshalle 05-11 Zurich, Switzerland - Bogen F 05-12 Turin, Italy - Circolo della Musica 05-14 Paris, France - Le Café de la Danse 05-15 Amsterdam, Netherlands - Het Zonnehuis 05-16 Cologne, Germany - Kulturkirche Köln 05-17 Ghent, Belgium - Handelsbeurs 05-20 London, England - Union Chapel 05-23 Dublin, Ireland - Pepper Canister 05-25 Glasgow, Scotland - St Luke's 06-09 San Diego, CA - Casbah 06-10 Los Angeles, CA - Echoplex 06-11 Pioneertown, CA - Pappy & Harriet's 06-14 Big Sur, CA - Henry Miller Memorial Library 06-15 San Francisco, CA - The Chapel 06-17 Portland, OR - Doug Fir Lounge 06-18 Seattle, WA - Neumos 06-19 Vancouver, British Columbia - The Biltmore Cabaret

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Daniel Rossen of Grizzly Bear announces solo album, shares “Shadow In The Frame”

You belong there is out april 8..

Grizzly Bear were one of the most acclaimed indie projects of the '00s, but the group's future has been uncertain for some time: their last album Painted Ruins was released in 2017, and in 2020 the group's founder Ed Droste left the group to become a therapist. Daniel Rossen, Grizzly Bear's co-lead vocalist and multi-instrumentalist, is staying in the game with the announcement of You Belong There , his debut solo album out April 6 of Warp Records.

Today sees the release of You Belong There 's lead single "Shadow in the Frame." It will sound familiar to fans of Grizzly Bear: ornate folk guitar melodies that connect with each other like daisy chains carry Rossen's voice, tranquil yet bubbling with emotion, to soaring heights. Listen below:

Read Next: Grizzly Bear’s Christopher Bear and Daniel Rossen are scoring a new A24 rom-dram

Just before the release of You Belong Here , Rossen will embark on a huge tour of North America, Europe, and the United Kingdom. Find those dates below.

Daniel Rossen tour dates

3/27 - Austin, TX - Antone’s 3/30 - New Orleans, LA - Toulouse Theatre 4/1 - Atlanta, GA - Variety Playhouse 4/2 - Nashville, TN - Exit/in 4/3 - Asheville, NC - The Orange Peel 4/5 - Washington, DC - Miracle Theatre 4/6 - Philadelphia, PA - Underground Arts 4/8 - Somerville, MA - Crystal Ballroom 4/9 - Brooklyn, NY - Brooklyn Made 4/11 - Montreal, QC - Le Ministere 4/12 - Toronto, ON - Great Hall 4/14 - Chicago, IL - Lincoln Hall 4/15 - Minneapolis, MN - Icehouse 5/7 - Hamburg, DE - Kulturkirche Altona 5/8 - Berlin, DE - Passionskirche 5/10 - Munich, DE - Freiheitshalle 5/11 - Zurich,CH - Bogen F 5/12 - Turin, IT - Circolo della Musica 5/14 - Paris, FR - Le Café de la Danse 5/15 - Amsterdam, NL - Het Zonnehuis 5/16 - Cologne, DE - Kulturkirche Köln 5/17 - Ghent, BE - Handelsbeurs 5/19 - Leeds, UK - Left Bank 5/20 - London, UK - Union Chapel 5/23 - Dublin, IE - Pepper Canister 5/25 - Glasgow, UK - St Luke's 6/9 - San Diego, CA - Casbah 6/10 - Los Angeles, CA - Echoplex 6/11 - Pioneertown, CA - Pappy & Harriet's 6/14 - Big Sur, CA - Henry Miller Memorial Library 6/15 - San Francisco, CA - The Chapel 6/17 - Portland, OR - Doug Fir Lounge 6/18 - Seattle, WA - Neumos 6/19 - Vancouver, BC - The Biltmore Cabaret

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Daniel Rossen Drops New Single “Unpeopled Space”: Stream

The Grizzly Bear frontman has also announced a lengthy tour in support of his debut solo album

Daniel Rossen has unveiled his new single “Unpeopled Space” via Warp Records. Stream it below.

Following a meditative instrumental intro, the singer-songwriter spins a narrative about the time he spent in upstate New York before moving to Santa Fe, New Mex. to record his upcoming album. “Ten years gone, was it worth it?/ Is the answer clear? And after all/ And after all, nothing’s lost/ There’s nothing, there’s nothing there/ Whatever was, whatever will/ We belong here now,” he sings over a cacophony of instruments and harmonies.

“Unpeople Space” marks the second release off Rossen’s first-ever solo album You Belong There , which is set to arrive April 8th, and serves as a follow-up to lead single “Shadow in the Frame.” The LP is also the instrumentalist’s first solo project in the decade since he released his 2012 EP Silent Hour/Golden Mile .

Back in January, the Grizzly Bear frontman shared the inspiration behind “Shadow in a Frame” with Consequence for our ongoing Origins series, which included everything from the soundtrack to The Wizard of Oz and his pastime of running to serious contemplations of the future and getting older.

Rossen has also announced that he’ll be heading out on a 34-date headlining tour throughout North America and Europe in support of You Belong There , which begins March 27 in Austin, Texas and hits cities like New Orleans, Nashville, Washington D.C., and Brooklyn before hopping the pond in May for Germany, Switzerland, France, Italy, the Netherlands, the United Kingdom, and more. Grab your tickets here .

Daniel Rossen 2022 Tour Dates: 03/27 – Austin, TX @ Antone’s 03/30 – New Orleans, LA @ Toulouse Theatre 04/01 – Atlanta, GA @ Variety Playhouse 04/02 – Nashville, TN @ Exit/in 04/03 – Asheville, NC @ The Orange Peel 04/05 – Washington, DC @ Miracle Theatre 04/06 – Philadelphia, PA @ Underground Arts 04/08 – Somerville, MA @ Crystal Ballroom 04/09 – Brooklyn, NY @ Brooklyn Made 04/11 – Montreal, QC @ Le Ministere 04/12 – Toronto, ON @ Great Hall 04/14 – Chicago, IL @ Lincoln Hall 04/15 – Minneapolis, MN @ Icehouse 05/07 – Hamburg, DE @ Kulturkirche Altona 05/08 – Berlin, DE @ Passionskirche 05/10 – Munich, DE @ Freiheitshalle 05/11 – Zurich, CH @ Bogen F 05/12 – Turin, IT @ Circolo della Musica 05/14 – Paris, FR @ Le Café de la Danse 05/15 – Amsterdam, NL @ Het Zonnehuis 05/16 – Cologne, DE @ Kulturkirche Köln 05/17 – Ghent, BE @ Handelsbeurs 05/19 – Leeds, UK @ Left Bank 05/20 – London, UK @ Union Chapel 05/23 – Dublin, IE @ Pepper Canister 05/25 – Glasgow, UK @ St Luke’s 06/09 – San Diego, CA @ Casbah 06/10 – Los Angeles, CA @ Echoplex 06/11 – Pioneertown, CA @ Pappy & Harriet’s 06/14 – Big Sur, CA @ Henry Miller Memorial Library 06/15 – San Francisco, CA @ The Chapel 06/17 – Portland, OR @ Doug Fir Lounge 06/18 – Seattle, WA @ Neumos 06/19 – Vancouver, BC @ The Biltmore Cabaret

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Daniel rossen drops new single "unpeopled space": stream.

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Daniel Rossen Concert Setlists & Tour Dates

Daniel rossen at reunity resources, santa fe, nm, usa.

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Daniel Rossen at Biltmore Cabaret, Vancouver, BC, Canada

Daniel rossen at neumos, seattle, wa, usa.

• Repeat the Pattern
• Silent Song
• Made to Rise
• In Ear Park
• Unpeopled Space
• Shadow in the Frame
• Golden Mile
• It's a Passage
• The Last One

Daniel Rossen at Doug Fir Lounge, Portland, OR, USA

• Phantom Other
• Balmy Night
• Herringbone

Daniel Rossen at The Chapel, San Francisco, CA, USA

Daniel rossen at henry miller memorial library, big sur, ca, usa.

• Sleeping Ute
• Deep Blue Sea

Daniel Rossen at Pappy & Harriet's Palace, Pioneertown, CA, USA

• Saint Nothing
• Kentucky Waltz
• Big Blue Sea

Daniel Rossen at Echoplex, Los Angeles, CA, USA

Daniel rossen at the casbah, san diego, ca, usa, daniel rossen at saint luke's, glasgow, scotland.

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• In Ear Park ( 21 )
• Golden Mile ( 20 )
• Silent Song ( 20 )
• Saint Nothing ( 16 )
• Shadow in the Frame ( 16 )

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Department of Eagles Grizzly Bear Judee Sill Townes Van Zandt

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93 people have seen Daniel Rossen live.

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Daniel Rossen Tickets

Daniel rossen concert tickets.

Jam out to the sounds of pop rock with Daniel Rossen tickets. Daniel Rossen is a singer-songwriter and multi-instrumentalist most known for his work with the bands Department of Eagles and Grizzly Bear. Born in Los Angeles, in 1982, Rossen began writing songs while in college at New York University. There he formed the band Department of Eagles with Fred Nicolaus, releasing the album The Whitey on the Moon UK through Isota Records. The release was praised for its lo-fi sound and tongue-in-cheek parody of abstract hip hop.

In 2005, Rossen joined the band Grizzly Bear, contributing to their sophomore release Yellow House in 2006. Two years later Department of Eagles released their album In Ear Park , which heavily featured Grizzly Bear members Chris Taylor and Christopher Bear. Rossen released his debut solo EP Silent Hour/Golden Mile in 2012, which earned high praise for its intelligent songwriting and sophisticated musicianship. He has performed at Record Store Day and Vote Ready, and collaborated extensively with the hit folk band Fleet Foxes in particular. At the beginning of 2022, Rossen announced he was nearly finished with his first full-length solo album, You Belong There . Snag Daniel Rossen tickets here to see this talented pop rocker live in concert.

Daniel Rossen Ticket Prices

There is a multitude of variables that affect Daniel Rossen ticket prices. These include the length of the tour, the capacity of the arena and if it’s a sold-out tour. Ticket prices are also impacted by where you are seated and if you’re looking to purchase floor seats, lower level next to the stage or an upgraded VIP package.

How much are Daniel Rossen tickets?

The average price of a Daniel Rossen concert ticket is around $97 per ticket. If you’re looking for cheap Daniel Rossen tickets, you’ll find better prices for cheap tickets in the upper levels furthest from the stage. Discount tickets that are farthest from the stage will typically be under $49. If you are looking for premium seating or VIP tickets, you can expect to pay over $150 per ticket in most cases.

Daniel Rossen Tour Dates & Concert Schedule

Daniel Rossen tour dates vary from year to year. In most cases, tours tend to be 6-12 months but can extend over multiple years especially if it is a final tour. Daniel Rossen concert schedule will typically have 25-50 tour dates.

There also can be a performance at music festivals across the country including Coachella , Lollapalooza and Bonnaroo Music Festival. Bonnaroo is held in Manchester, Tennessee. Coachella is held at Empire Polo Fields in Indio, California and Lollapalooza in the United States is held at Grant Park in Chicago, Illinois. It's easy to find seats to Daniel Rossen tour when you shop with us. Shopping with TicketSmarter even makes it easier to get into the venue. Our mobile transfer Daniel Rossen tour tickets let you skip past the box office line and head right for your seats.

When do Daniel Rossen tickets go on sale?

Typically, Daniel Rossen concert tour tickets go on sale 4-6 months prior to the performance and sometimes even a year in advance. Once the tour dates and concert schedule is announced, you can check our event calendar to find your perfect date and venue. Daniel Rossen concert tickets will typically be available within 24-48 hours of a tour announcement. There is never a need for a presale code. Why wait for the public on sale when you can secure your seats today.

Daniel Rossen Seating Chart

The seating capacity will vary depending on the venue utilized for the tour or festival. With large festivals like Coachella and Lollapalooza , you can have upwards of 100,000 concertgoers per day. For most large-scale arenas like T-Mobile Arena in Las Vegas, the seating capacity is around 20,000 seats. Just a few of the luxury seating options include suites, box seats and VIP concert tickets. Most festivals will include general admission and lawn seating.

Safe and Secure Daniel Rossen Ticket Purchasing

TicketSmarter’s worry-free ticket-buying experience ensures that you'll always find great deals on authentic concert tickets to see your favorite performers live. We've worked hard to turn TicketSmarter into the safest place to buy Daniel Rossen tickets. We back up this promise with our low price guarantee and 100% ticket guarantee, both of which assure your entry into your concert at a competitive price.

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All TicketSmarter pop/rock concert tickets are 100% guaranteed. Verified customers rate TicketSmarter 4.6/5.0 stars, so you can order with confidence knowing that we stand behind you throughout your Daniel Rossen ticket buying experience.

Songs from the Daniel Rossen Tour Setlist

Daniel Rossen's setlist while performing in Seattle , WA at “Neumos” included the following songs:

• Repeat the Pattern
• Silent Song
• Made to Rise
• In Ear Park
• Unpeopled Space
• Shadow in the Frame
• Golden Mile
• It's a Passage
• The Last One
• Never Going Back
• Sleeping Ute
• Deep Blue Sea

Source: Setlist.fm

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Past Events

Here are the most recent UK tour dates we had listed for Daniel Rossen. Were you there?

• Wed 25 May Glasgow, Saint Luke's Daniel Rossen
• Thu 19 May Leeds, Left Bank Daniel Rossen

August 2014

• Tue 26 Aug London, Union Chapel Daniel Rossen

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2019 Tour Dates:

Sun June 9 @ Anaireseis Festival  – Athens, Greece

Tues June 11 @ UT Connewitz  – Leipzig, Germany

Wed June 12 @ Rockhouse – Salzburg, Austria

Thur June 13 @ A38 – Budapest, Hungary *with Uncle Acid & The Deadbeats

Fri June 14 @ PPC – Graz, Austria

Sat June 15 @ Cronache Marziane Festival – Milano, Italy

Sun June 16 @ Blah Blah – Torino, Italy

Tues June 18 @ Duna Jam – Sardinia, Italy

Wed June 19 @ L’Usine – Geneva, Switzerland *with Monkey3

Fri June 21 @ Hellfest  – Clisson, France

Sat June 22 @ Schmittner Open Air – Schmitten, Switzerland

Sun June 23 @ Black Deer Festival – Tunbridge Wells, United Kingdom

Tues June 25 @ De Zwerver – Leffinge, Belgium

Wed June 26 @ Helios 37  – Cologne, Germany

Thur June 27 @ Vera – Groningen, Netherlands

Fri June 28 @ Keller Club  – Stuttgart, Germany

Sat June 29 @ Raut Oak Festival – Riegsee, Germany

Sun June 30 @ PMK – Innsbruck, Austria

Mon July 01 @ Arena – Vienna, Austria

Wed July 03 @ Lido – Berlin, Germany

Thurs July 04 @ Schlachthof – Wiesbaden, Germany

Fri July 05 @ Resurrection Festival – Viveiro, Spain

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Closure In Moscow announces February 2024 US Tour

US Tour Dates 2024: February 9 Brooklyn, NY Meadow February 10 Philadelphia, PA TBA February 11 Baltimore, MD Metro Gallery February 13 Atlanta, GA Masquerade February 14 Nashville, TN The End February 16 Dallas, TX Deep Ellum Art Co February 17 San Antonio, TX The Rock Box February 18 Houston, TX White Oak Upstairs

Tickets are available here . Gold Necklace opens on all dates.

In the lead-up to “Soft Hell”’s Friday release, Closure In Moscow have released three singles and videos from the 12-song album, with the most recent being the synth-laden track, “Keeper of the Lake”. The accompanying video features a performance video produced by Yovozol with filming by Rowey. Blending ‘90s VHS effects with the quirky and idiosyncratic performance of the band, it’s yet another glimpse into a new era of these genre-shifting chameleons. The song follows the band’s well-received singles, “Better Way” and “Primal Sinister”.

“Soft Hell” is the band’s third album and their first new album in nine years, following “Pink Lemonade” (2014), “First Temple” (2009) and their debut EP, “The Penance and the Patience” (2008).

Pre-order “Soft Hell” here .

Closure in Moscow formed in 2006 and soon attracted attention for their dynamic, catchy and energetic take on post-hardcore with their debut EP, “The Penance and the Patience”. They quickly signed to Equal Vision Records and relocated to the USA, recording their full-length debut “First Temple” with producer Kris Crummett and touring extensively with acts including Coheed and Cambria, Emery and Dance Gavin Dance. They returned to Australia for the Homebake Festival in 2009, completed a gruelling trek on the 2010 Warped Tour and all the while First Temple quickly earned a dedicated following for fans of their blistering musicianship, impossibly catchy melodies and formidable grooves. Pink Lemonade followed in 2014, with the band continuing to tour extensively, both pre and post-release. Alternative Press said Pink Lemonade “is anything but simple” and Heavy Blog Is Heavy noted “… psychedelic and theatrical… this isn’t your dad’s Closure in Moscow record”.

Weblinks: www.closureinmoscow.com www.facebook.com/closureinmoscow

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(G)I-DLE announce dates for 2024 ‘i-DOL’ world tour

Featuring concerts in Asia, the US and Australia

K-pop girl group (G)I-DLE have announced the cities and dates for their upcoming 2024 ‘i-DOL’ world tour, featuring concerts in Asia, the US and Australia.

• READ MORE: Upcoming K-pop concerts, tours and music festivals in Asia

Today (May 13), (G)I-DLE revealed details for their newly announced 2024 ‘i-DOL’ world tour, which will feature 19 concerts across Asia, the US and Australia from August to November this year.

The K-pop girl group will kick off their tour with a two-date concert in Seoul, South Korea on August 3 and 4. In the same month, the quintet will also hold performances in Hong Kong, China and Tokyo, Japan.

In September 2024, (G)I-DLE will bring their 2024 ‘i-DOL’ world tour to the US. It will include six shows from September 6 to 18, with concerts in states such as California, New York, Texas and more.

Thereafter, the girl group will continue the Asia leg of their tour, bringing their ‘i-DOL’ tour to Taiwan, Thailand and China. Following those performances, the K-pop act will also play two shows in Australia.

(G)I-DLE have yet to announced the venues and ticketing details for their 2024 ‘i-DOL’ world tour. Keep tabs on this page for the latest updates.

The dates for (G)I-DLE’s 2024 ‘i-DOL’ world tour are:

AUGUST 2024 03: Seoul, South Korea 04: Seoul, South Korea 24: Hong Kong, China 25: Hong Kong, China 31: Tokyo, Japan

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SEPTEMBER 2024 01: Tokyo, Japan 06: Tacoma, Washington 08: Oakland, California 10: Anaheim, California 13: Houston, Texas 15: Rosemont, Illinois 18: Belmont Park, New York

OCTOBER 2024 05: Taipei, Taiwan 06: Taipei, Taiwan 19: Bangkok, Thailand 26: Macau, China 27: Macau, China 31: Melbourne, Victoria

NOVEMBER 2024 02: Sydney, New South Wales

[공지] 2024 (G)I-DLE WORLD TOUR [iDOL] 개최 안내 자세한 내용은 아래의 이미지를 참고해 주시기 바랍니다. #여자아이들 #GIDLE #iDOL #2024_GIDLE_WORLDTOUR pic.twitter.com/5Zg8tFOtvw — (G)I-DLE·(여자)아이들 (@G_I_DLE) May 13, 2024

Last month, (G)I-DLE member Yuqi  released her solo mini-album, ‘YUQ1’, led by the single ‘Freak’ . The record also featured appearances from bandmate Minnie on ‘Everytime’ and Chinese musician Lexie Liu on ‘On Clap’.

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2024 NFL QB Power Rankings: Brock Purdy, Jordan Love crack top 10, Daniel Jones lands at bottom

Assessing every team's starting qb ahead of camp.

Nothing moves the needle in the NFL quite like quarterbacks. Why? They're the most important ingredient in a championship recipe! Is it impossible to win a championship without an "elite" signal-caller? No. But history tells us that it's much easier otherwise. So we're keeping tabs on all 32 starters throughout the 2024 season.

Which ones are the best of the best, as we stand here today, approaching the new year? And which ones could be in for trouble? All quarterbacks are partly a product of their situations, but this is how we'd sort today's signal-callers right now . These power rankings are obviously subject to drastic change once games actually get underway, as they're built to be based  more on current standing than the bigger picture , in an effort to tell the story of each quarterback's respective rise and fall.

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‘spider-man: across the spider-verse’ composer daniel pemberton announces u.s. concert tour, talks his groundbreaking score.

Musicians will perform the score live as the animated feature plays for audiences across 50-plus dates: "I always thought it'd be impossible to do live."

By Brian Davids

Brian Davids

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Following last week’s announcement of the now fast-selling U.K. tour, Spider-Man: Across the Spider-Verse composer Daniel Pemberton is revealing that the film’s live-in-concert experience is now web-swinging across the Atlantic and into the States. 

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The Emmy-winning and Oscar-nominated composer channeled the rave and club scenes of ‘90s London to create the musical identity of the Oscar-winning Spider-Verse saga. And while this experimental approach could be done with relative ease in the recording studio, Pemberton was initially uncertain if the multidimensional scores of Into the Spider-Verse and now Across the Spider-Verse could be re-created for a continuous live-to-picture performance.

“ I always thought it’d be impossible to do live, because they jump between so many different ideas and genres. But a long time ago, I did a couple of cues at a one-off film music festival, and I was really surprised at how effective it worked,” Pemberton tells The Hollywood Reporter . “So that got my brain thinking about trying to do the whole film live, and we did a couple of tests that went down phenomenally.”

Pemberton is quick to credit the Phil Lord- and Chris Miller-produced films for providing him with the leeway that inherently comes with the franchise’s revolutionary approach to animation.  

Below, during a recent conversation with THR in support of Across the Spider-Verse ’s U.S. tour announcement, Pemberton also explains how the first cue he ever wrote for Across wound up serving as the film’s thematic bookends involving Gwen Stacy.

So how did you arrive at this point where Into the Spider-Verse and Across the Spider-Verse both have live concerts and tours?

The Spider-Verse films probably have the most complicated scores I’ve ever done, and I always thought it’d be impossible to do live, because they jump between so many different ideas and genres. But a long time ago, I did a couple of cues at a one-off film music festival, and I was really surprised at how effective it worked. So that got my brain thinking about trying to do the whole film live, and we did a couple of tests that went down phenomenally. 

So Into the Spider-Verse has now been on a tour, and it’s crazy that it’s become quite a huge thing with a touring band and a whole bunch of musicians driving around America in a truck. But we’ve only done Across the Spider-Verse live once, and that was at the Academy Museum in L.A. That was the first and only time it’s been done so far, but it’s so much work to get the show watertight. Once you’ve done that, then you can start working out how to turn it into a touring show.

On certain dates, will you be there to pick up a guitar and play various other instruments?

There are moments in the score with opera singing and whistling. Will the live shows actually have designated opera singers and whistlers? 

The whistling we normally do live, but the opera singer is probably going to be on track. There are a lot of things in this score that are so complex to balance. So we’re trying to give a live experience, but it’s not like a symphonic orchestra where every single element is all being performed live. We have loads of live stuff backed with electronics and turntables, and that’s the only way we could really make it work. It’s really about how much of an exciting show it is. And if you see the show on two different nights, you are going to get a slightly different experience, but also a very unique live experience. 

What percentage of Into the Spider-Verse ’s score did you expand on in Across the Spider-Verse ?

For me, great film music is when you have strong themes and strong identities that are completely recognizable to that film. Great film music is when you can hear something away from the film and it takes you back into that universe. And that can be as simple as a certain noise or a huge melody. And with Spider-Verse , we have created quite a unique melody and sound, so it’s really fun to keep expanding on that. Everything is connected in these two movies. Every sound and motif connects together. 

One of the things that’s been interesting is watching the reactions of younger filmgoers who are starting to learn about cinema and film music and how surprised they are at thematic continuity and motifs that can connect characters. It is one of those very iconic and also straightforward parts of film music. But there hasn’t been a consistent approach, especially with the superhero movies over the last couple of decades. Often you have different composers scoring different episodes in different franchises, and if you look at The Lord of the Rings or Star Wars movies, there is a very strong thematic and melodic approach between those. You’ve got one vision, one composer, and with Spider-Verse , that’s what we’re trying to do. So, for a lot of younger people, that’s often quite new to them, which is obviously quite weird to me.

Yeah, it’s really difficult. In the good old days of film music, the composer would get a cut, write their piece of music, and then they’d record it and stick it on the film. And then there’s a round of applause for everyone. In the modern world and the modern way of film composing, everything changes all the time. So you might write something to picture, but then that picture might get slightly tweaked: something gets put in or extended or taken out at the last minute. So the music is always in flux, and while you can make that work for a film, you can’t do that when you have musicians playing it live. You have to make it in a way that is enjoyable and exciting for the musicians to play. If the musicians are only thinking about the technicality of very complicated tempo changes, which you might have when you’re editing a film to move between things, it is going to be a terrible live performance. So, like Ludwig, I had to go back to the beginning and rebuild the score, scene by scene. Some scenes will be slightly different on a very minuscule level. I’m talking tiny, tiny stuff, but you still have to build the whole thing from the ground up again, and that is very time consuming. It’s a bit like pulling a car apart and rebuilding it. You get to learn all the bits in the score again. But I saw Ludwig’s performance. It was brilliant, but I would not want to be a musician during that performance. It never stops. It’s exhausting. It’s a beautiful score, but Oppenheimer feels like the musician equivalent of running two marathons back to back.

I like to think it was the other way around because he saw mine first. ( Laughs .) So he came to my show, and we worked with some of the same people, actually. It was the same production team, so Mike Kasper from Black Ink worked on that with Ludwig. But we like to keep an eye on what each other is doing. We’re good friends, and I’ve got massive respect for his work. It also makes me a bit jealous, so that’s a good sign. 

Are composers pretty competitive with one another? 

Oh, for sure. The best film music in the world is stuff that makes 50 percent of me incredibly jealous and annoyed, because it’s better than anything I’ve done and it’s everything I aspire to do. And the other 50 percent is like, “This is everything film music should be.” So you’re incredibly excited because it’s everything you care about, and when you hear it done well, it’s very exciting. So it’s the 50-50 rule of excitement and jealousy. If you get that, then it’s a great score.

Ludwig also had tempo changes to account for, so they had to introduce a new click track just one bar before the tempo change happened on the page. Did you run into similar tempo challenges?

On Oppenheimer , there’s loads and loads of crazy tempo changes, and I remember Ludwig telling me about that when we were having a beer in London. And what’s interesting about that is you’ll get smudge and imperfection. Sometimes, this can be really interesting because players are not all going to play together, and we have something similar to that with Spot, the baddie in Across the Spider-Verse . I recorded multiple de-tuned cello parts that weren’t all in tune, and if you keep tracking stuff that’s de-tuned, it’s like drawing a line many times. If you draw a straight line once, and then you badly draw a line 60 times, you will start to get a feeling of where the central line is, making it very unstable and interesting. So we have something similar with the cellos. They’re detuned, but they all align around one melody. That’s more of a melodic idea than a tempo idea, but putting multiple tempo changes in is something I try to avoid. It’s a nightmare when it comes to editing, so if you don’t have to do it, don’t do it. 

Yeah, it’s different, and I like working that way. It allows you to experiment and not be dictated to by the picture. So I will go through a very long process, which I call research and development, where I’ll try out loads of ideas and come up with sounds, themes, motifs. So I do write that way, but to do a film like Spider-Verse , the music is so reactive to the picture. You can’t just slap a track on and then go to the pub. You have to work at it so much to make it in sync with the visuals and in sync with the story, because the movie moves at an incredible pace and you have to hit so many different emotions and beats within seconds of each other. So I need to write themes that you recognize within two seconds because we are going to move somewhere else afterwards, and that’s a very complicated task. If you’re doing an indie film where you might have one tone or one mood, it’s easier to do that, but this has the movement of a big blockbuster. So you need music that’s incredibly nimble, and over the years, the only thing that’s been able to deal with that kind of nimbleness has been the symphony orchestra. So I was always like, “How do I create a sound and a palette and an approach that has the speed and nimbleness of a full orchestra but isn’t a full orchestra? Something new, something different.” And with Spider-Verse , we created all these techniques through scratching, turntables, weird electronic sound design, live orchestra drums, and we built a language that allowed me to write a score that could be that reactive to picture. But you try to do it in a way that hopefully feels elegant and simplistic enough that you don’t notice the movement.

The cue that bookends Across is probably my favorite, as Gwen’s ( Hailee Steinfeld ) heavy drum parts are right in my wheelhouse.

So I reworked it for that, and then much later, for the ending of the film, we didn’t know what to do and we tried different approaches. And then a great [supervising] music editor on Spider-Verse called Katie Greathouse, who’s a very important part of the team, just said, “Oh, why don’t we try that track over this?” So she just pulled it out and put it on, and we were like, “Fuck, this really works. Wow.” So I was like, “OK, the idea works, but I need to go away and rework it.” So I ran to this other office, because I was working in the same offices as all of them, and then I just wrote like crazy. And suddenly, we had the ending. So that was one of the most exciting moments for me; I felt we had something that was really special. By the way, that bit is great live. It’s such a fun ending to end a concert on.

Every live set list has a song or a cue that every musician anticipates, usually because it’s the most challenging piece. Is there one in particular that will allow your musicians to breathe easier once they nail it live? 

So it’s a very unique and unusual way to experience cinema. I don’t know of anything else that’s like this communal experience with an audience. I know Americans like to make a lot more noise, but people are generally quite restrained in cinema. And I like that. I am not a big fan of lots of noise in the cinema, but when you see a film live with an orchestra and a band and a scratch DJ, make as much noise as you want. It’s a whole different way of seeing a film. So that’s why I’m excited for people to experience this on tour. You can’t have this cool and unique experience anywhere else.

If you were handed these exact movies in live-action or you went into them with the foreknowledge that they were live-action, how different would both scores be in your estimation?

I enjoyed it.

Cathy [Yan], the director, had a very strong and unusually different vision for how that film should feel and look, and I got very excited by that. So I felt that it was a way to be a bit more creative, and that score is probably close to what Spider-Verse sounds like. It’s more trashy guitar-based, but if you look at King Arthur: Legend of the Sword that I did with Guy Ritchie, that’s got a similar sort of aesthetic where I got to do something a bit more creative. So it always depends on the film and the filmmakers and the approach, really, but I like things where you can push at the edges a bit more.

From Aaron Sorkin and Danny Boyle to Spider-Verse , is there an underlying principle to working on opposite ends of the spectrum? Do these projects have more in common than people might realize?

*** Spider-Man: Across the Spider-Verse Live in Concert tour information is available at SpiderVerseInConcert.com

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