Sean Wilson reviews Iron Man 3 composer Brian Tyler’s sensational London concert…
What does it take to an endure as a successful film composer in the 21st century? The answer, if you’re Brian Tyler, is versatility – and a lot of energy. Making his concert debut at London’s Royal Festival Hall on Saturday night, the ubiquitous Tyler presented a rollicking line-up of his various scores for film, TV and console games, his muscular offerings proving that he really is this generation’s heir apparent to Jerry Goldsmith (that many of his scores exceed the quality of the projects for which they’re written is another facet he shares with Goldsmith.)
Loose and limber whilst addressing the might of the Philharmonia Orchestra, plus choir, Tyler’s dazzling conducting skills made for sheer spectacle all on their own, the composer using his entire body and vigorously gesticulating to all points of the compass in order to bring his musical ideas to life. It’s often said that composing film music is one thing but conducting it is a completely different skill set entirely. Tyler however was entirely in control of his medium from start to finish, and the results were spectacular.
The highlights came thick and fast, from the powerful Marvel quartet of Iron Man 3, Thor: The Dark World, Avengers: Age of Ultron (although not Danny Elfman’s theme) and Tyler’s own logo music suite with their memorable horn/choir interactions, to the gleeful, rock-infused bravado of magician crime caper Now You See Me. (An added bonus was the worldwide debut of a robust suite from the sequel score, due for release later in the summer.) In fact, Tyler’s self-proclaimed drumming background made for a dynamic fusion with several of the pieces, including video game score Call of Duty: Modern Warfare 3 where the composer himself took to the kit and unleashed his inner John Bonham.
Nor was the evening all action. A score clearly personal to Tyler was that for 2007 drama Partition, exploring fateful partition of India and Pakistan, and the piece’s sumptuous, exotic strings (with an air of Maurice Jarre and John Barry about them) made for a refreshing palate cleanser compared to the more boisterous material surrounding it. The Celtic-infused The Greatest Game Ever Played was also a welcome reprieve with its tender woodwind solos. In fact, it was the lesser-known pieces that proved the biggest surprises, from a haunting violin solo on Far Cry to the beautiful vocals on the critically acclaimed mini-series score Children of Dune, another clear favourite of Tyler’s.
Although the relentlessly dense nature of Tyler’s action-oriented material did threaten to become overbearing and a tad repetitive towards the close of the show, his clear love of the film score medium that’s inspired him from a young age was never in doubt. To that end, he delivered a show-stopping tribute to his hero John Williams’ classic Superman, cheekily followed (in a typical demonstration of sly humour) with an equally entertaining rendition of the Hawaii Five-O theme.
Versatility, adaptability, plus an affinity for both classic traditions and contemporary innovations: it’s little wonder that Tyler is currently the blockbuster meal ticket. Long may it continue.
Sean Wilson is a film reviewer, soundtrack enthusiast and avid tea drinker. If all three can be combined at the same time, all is good with the world.
. url=”.” . width=”100%” height=”150″ iframe=”true” /]
https://youtu.be/b7Ozs5mj5ao?list=PL18yMRIfoszEaHYNDTy5C-cH9Oa2gN5ng
Originally published May 8, 2016. Updated April 15, 2018.
