Before a single note of video game music had been played on Sunday evening, the founder of London’s inaugural Soundtrack Festival, Tommy Pearson took to the stage at Camden’s Roundhouse venue and proclaimed that the “most interesting and creative things in music” were happening in the gaming world. The eclectic mix of scores that followed in the two hour concert, State of the Art: Games Music, proved him right.
Pearson’s words came after the week-long celebration of music – which also includes films and television – had already showcased the works of several influential composers from the likes of Howard Shore (The Lord of the Rings, Crash) to Lydia Tár, who is widely regarded as one of the greatest living maestros.
A gaming cynic or classical purest might consider it sacrilege to include music from video games in the same breath as those names. However, after hearing scores from titles such as Assassin’s Creed: Valhalla and Battlefield 2042, anyone would be able to see why artists composing scores for gaming have been recognised alongside the all-time greats. They put us through a rollercoaster of emotion that is as profound and impactful as any movie or opera.
Unsurprisingly then, it was a night of shifting mood and tone, wonderfully performed by the Royal Philarmonic Concert Orchestra and led by the enthusiastic conductor, Pete Harrison. The composers introduced their work before 15 minutes of music was recreated for each game on the set list (eight in total) as an energetic crowd filled with people dressed up as characters like Spiderman and Astarion from Baldur’s Gate 3 watched on.
People in the audience were dressed as Astarion from Baldur’s Gate 3
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It was Borislav Slavov’s score from the latter that received the most rapturous applause, however. His playful and mischievous track, Raphael’s Final Act, featured a typically theatrical vocal performance from one of the game’s stars, Andrew Wincott; it wasn’t surpassed by anything else for the rest of the show.
In one of the best demonstrations of gaming music’s diversity, Stephen Barton’s sobering Trust Me from the sci-fi shooter, Titanfall 2, thrashed the audience around with its sombre opening before reaching an optimistic crescendo. This followed on from Hollywood composer Harry Gregson-Williams’ energetic theme from Hideo Kojima’s seminal espionage thriller, Metal Gear Solid.
That wasn’t the only Kojima title to star. Swedish composer Ludvig Forssell rocked the arena by grabbing a guitar and announcing a track from the upcoming Death Stranding 2, set to one of the game’s boss fights. It was aggressive and fractious; a sneak peak into what might be in store for the sequel.
Ironically though, the evening ended with the world premiere of a live rendition from a game based on one of cinema’s most notable franchises; Indiana Jones and the Great Circle. Gordy Haab’s unique take on John Williams’ score captured the essence of adventure and wonder seen in the films, while also being distinct enough to stand on its own feet.
The London Soundtrack Festival will conclude on March 26
