daniel portman tour

Daniel Portman Verified

Similar artists on tour, concerts and tour dates, about daniel portman.

• Moscow concerts Moscow concerts Moscow concerts See all Moscow concerts ( Change location ) Today · Next 7 days · Next 30 days
• Most popular artists worldwide
• Trending artists worldwide

• Tourbox for artists

Search for events or artists

• Sign up Log in

• Get the app
• Moscow concerts
• Change location
• Popular Artists
• Live streams
• Deutsch Português
• Popular artists

Daniel Portman

• On tour: no
• Upcoming 2024 concerts: none

12,073 fans get concert alerts for this artist.

Join Songkick to track Daniel Portman and get concert alerts when they play near you.

Find your next concert

Join 12,073 fans getting concert alerts for this artist

Tours most with

Past concerts.

Shelborne Hotel Pool

Circus Afterhours

Salsa Club Mystique

View all past concerts

Posters (2)

Find out more about Daniel Portman tour dates & tickets 2024-2025

Want to see Daniel Portman in concert? Find information on all of Daniel Portman’s upcoming concerts, tour dates and ticket information for 2024-2025.

Unfortunately there are no concert dates for Daniel Portman scheduled in 2024.

Songkick is the first to know of new tour announcements and concert information, so if your favorite artists are not currently on tour, join Songkick to track Daniel Portman and get concert alerts when they play near you, like 12073 other Daniel Portman fans.

Last concert:

Touring history

Most played:

• Toronto (5)
• Kitchener (2)
• Helsinki (2)

Appears most with:

• ANDREW BENNETT (3)
• Leventina (2)

Distance travelled:

Similar artists

• Most popular charts
• API information
• Brand guidelines
• Community guidelines
• Terms of use
• Privacy policy
• Cookies settings
• Cookies policy

Get your tour dates seen everywhere.

• But we really hope you love us.

• Download Shazam

Daniel Portman

IMDbPro Starmeter See rank

• Contact info
• 2 wins & 4 nominations

• Podrick Payne
• 2012–2019 • 35 eps

• 2021 • 5 eps

• Colin Duff Jnr
• 2022 • 2 eps

• Stuart King
• 2023 • 1 ep
• Captain of the Guard
• Pre-production
• Post-production

• Angus McDonald
• 35 episodes

• Max Kavinsky

• Delivery Guy

• Sniper's Pal 2

• Paul (as Daniel Porter)

Personal details

• Official Site
• Daniel Porter
• 5′ 8½″ (1.74 m)
• February 13 , 1992
• Scotland, UK
• Parents Ron Donachie
• Naomi Porter (Sibling)
• Other works Stage Play: Black Watch - at, SECC, Glasgow, Norfolk & Norwich Festival, Paramount Theatre, Seattle and American Conservatory Theater, San Francisco

Self-verified on IMDbPro

Did you know.

• Trivia He has a powerful Baritone singing voice.
• How old is Daniel Portman?
• When was Daniel Portman born?
• Where was Daniel Portman born?

Related news

Contribute to this page.

• Learn more about contributing

More to explore

Add demo reel with IMDbPro

How much have you seen?

Recently viewed.

• Beatport Studio
• Beatport.io
• Add Streaming

• Account Settings
• My Subscriptions
• 0 Shopping Carts
• My Beatport

Daniel Portman

Latest Releases

Top Ten Tracks

• About Beatport
• Customer Support
• Logos And Images
• Terms and Conditions
• Privacy and Cookie Policy
• Report Copyright Infringement
• ampsuite Distribution
• Beatport DJ
• Beatport Hype
• Beatport for Labels
• Beatport Next
• Beatport Streaming
• Plugin Boutique

'Game of Thrones' composer Ramin Djawadi finally explains a mysterious Daenerys song which never appeared on the show

• When the official "Game of Thrones" season eight soundtrack was released, many fans took notice of a song titled "Stay a Thousand Years" (which was never heard on the show).
• "I was done writing with the show and I did it for emotional closure and for fun," composer Ramin Djawadi told Insider. 
• The piece was never attached to a scene on the show, but instead was his way of saying goodbye to the series and making Jon Snow and Daenerys Targaryen's love "eternal."
• Keep reading for Insider's full interview with Djawadi about this song and the current "Game of Thrones: Live Concert Experience" tour.
• Visit Insider's homepage for more stories.

The series finale of "Game of Thrones" may have left us with many unanswered questions , but at least one small mystery has now been solved.

"Stay a Thousand Years" was an unusual song from HBO's officially released "Game of Thrones" season eight soundtrack — the choral performance of Daenerys Targaryen and Jon Snow's "love theme" (as composer Ramin Djawadi calls it) never appeared on the actual show.

"Many times when I come to the end of the season and I'm done writing [music for the show], I feel I want to write another piece," Djawadi said in an interview with Insider . "I just can't quite let go yet. So then I'll just write something and stick it on the album. That's just really just me having fun."

Read more: Ramin Djawadi reveals how the showrunners talked in 'riddles' about Daenerys and Jon's fate years ago

Though some fans might have believed the song was linked to a deleted scene from the eighth season premiere, it was really just written as his final goodbye to the series.

'Stay a Thousand Years' shows the possibility of 'eternal love' for Daenerys Targaryen and Jon Snow

Djawadi said this isn't the first time music that wasn't intended for a specific scene has appeared on the officially released soundtrack. He wrote the choir-based song "Dark Wings, Dark Words" just for the season three soundtrack, though later that melody was heard on season four.

"I don't think ['Dark Winds, Dark Words'] got as much attention because ['Stay a Thousand Years'] is quite a statement piece," Djawadi said. "It's very traditional choral church piece, but with the Dany and Jon love theme."

Dany and Jon's "love theme" was first heard on the seventh season when they began to bond at Dragonstone.

Djawadi wrote that piece of music in reverse order for the scenes — meaning he started by crafting the big, romantic, sweeping track called "Truth" (which played as the two Targaryens had sex for the first time).

Then Djawadi whittled that melody down to quieter versions that would play in the scenes when Dany and Jon were just getting to know one another.

"Obviously their relationship with just such a big thing, the way the show ended with her death and everything," he said. "['Stay a Thousand Years'] is just another personal piece of mine that I felt like it would be nice to have out there." 

The title for this track comes from the line Daenerys says to Jon after their dragon ride on the eighth season premiere. After flying to a remote swath of land in the North where waterfalls cascaded down to the snowy land, Dany turned to Jon. 

"We could stay a thousand years," she said. "No one would find us." 

By naming the song after this key scene, Djawadi was making a small statement about all the potential in the tragic relationship between Jon Snow and Daenerys Targaryen.

Related stories

"I felt like it made their love eternal," he said. "It makes their relationship forever. Again, it was just personal.  I was having fun writing and being emotional about it."

Djawadi crafted a similar note of possibility for another tragic "Game of Thrones" couple: Brienne of Tarth and Jaime Lannister. On the series finale, when Brienne is writing down Jaime's deeds in the Book of Brothers, Djawadi intentionally included the melody associated with Westerosi weddings. 

Read more: 'Game of Thrones' composer Ramin Djawadi confirms fan theory about Brienne, Jaime, and the 'wedding' music heard on the series finale

"There was an opportunity for an emotional piece and I thought, 'Let's put [the wedding music] into it for the imagination of people who were into their relationship," Djawadi said. "They can think about what this could have been."

When asked if this bonus track was the result of having an extra emotional attachment to the character of Daenerys, Djawadi said the choice of theme wasn't necessarily meant to single out the Mother of Dragons. 

"No, not at all. I try not to favor any characters or anything," he said. "It's really just a coincidence that I [picked Dany and Jon's music]. It was just really quite [an] emotional theme. And obviously her death was a big deal and I was shaken by that just like everybody else watching it."

"Stay a Thousand Years" didn't appear on the show, and fans won't hear it during the "Game of Thrones: Live Concert Experience," either.

"I didn't realize that people would pick it up like this," Djawadi said. "And it's not in the live show, but now this makes me think about maybe putting it in one day, because it would be really powerful to perform live with the choir. That would be actually really great [laughing]. Maybe I should have put it in."

The 'Game of Thrones' concert tour has already begun, though Djawadi won't be performing at every show this year

This is the third iteration of the "Game of Thrones: Live Concert Experience" organized by Djawadi and his team, though it's the first time the touring show is able to tell the complete story now that the final season has aired. 

"We could've done a whole concert just with season eight material, since there was so much new music," Djawadi said. "It was hard. I had to take out or shorten some pieces just to make room for all the [new songs], because obviously we wanted to play 'The Night King' and 'Jenny of Oldstones.'"

Daniel Portman (who played Podrick) sung the now-famous "Jenny of Oldstones" tune on the second episode of season eight, "A Knight of the Seven Kingdoms."

Read more: 'Game of Thrones' star Daniel Portman tells Insider about singing 'Jenny of Oldstones' and his emotional final day on set

The version released on Djawadi's soundtrack is an instrumental, but he says a new arrangement was written especially for the live concert tour. Fans will hear a longer version of the song, and there are vocalists on hand to sing the lyrics.

"'Jenny of Oldstones' is really incredible live with our vocalist," Djawadi said. "It might be one of my favorites. It's really powerful."

Unlike the previous two tours, Djawadi himself will not be there for every stop. The tour kicked off last week in Toronto, Canada, but Djawadi's first appearance on stage will be this coming Saturday in New York City. After that, he'll join the orchestra performers in New Mexico and then twice in California .

"With my schedule and everything, I wasn't able to do the entire tour, even though I would have loved to," Djawadi said. "All the concerts have been so much fun and connecting with the fans is incredible."

The composer is looking forward to the new open-air setting, too. For the first time, the "Game of Thrones: Live Concert Experience" is touring at outdoor amphitheaters. The final show (with Djawadi performing) will be at Los Angeles' Hollywood Bowl. 

"Now [the concert] feels like a closure," Djawadi said. "It's nice for people who can relive ['Game of Thrones'] in its entirety now. I was quite emotional about it while preparing for this because, just like many people, I wasn't ready to let go of the show yet."

Fans who want in on this group-closure can find the "Game of Thrones: Live Concert Experience" tour dates and tickets here. The season eight soundtrack is streaming now on Apple Music , Spotify , and more.

Ramin Djawadi is once-again nominated for best original dramatic score at the upcoming Emmy Awards , which air on September 22, 2019 (in the middle of the live concert tour).

• Insider's review of the 2018 'Game of Thrones: Live Concert Experience' tour
• Ramin Djawadi reveals how the showrunners talked in 'riddles' about Daenerys and Jon's fate years ago
• All the TV shows and stars that are nominated for 2019 Emmys, including Ramin Djawadi
• 31 questions the 'Game of Thrones' series finale left unanswered

Watch: This ice cream is inspired by Game of Thrones

• Main content

'Game of Thrones': Daniel Portman on How Fans Should Prepare for the Final Season

The Podrick Payne-playing actor was in an unusual spot when he got the Season 8 scripts.

In fall 2017, a short time before the Game of Thrones cast was scheduled to sit down in Belfast for their Season 8 table read, they received their scripts via email.

Daniel Portman , who plays GoT's most loyal squire, Podrick Payne, happened to be in a taxi, on his way to a training session at the gym, when those pages hit his inbox.

The cast had been waiting a while to get them, with the scripts arriving fairly close to the date of the table read. According to various accounts, most of the actors began reading wherever they were – Emilia Clarke in London, Gwendoline Christie in Vancouver, and Isaac Hempstead Wright while he was at college. Kit Harington told Stephen Colbert he skipped reading them, saving his reactions for the table read with his co-stars. Liam Cunningham , who plays Davos Seaworth, had his access slightly delayed due to a technical issue, but he jumped in as soon as he was able, he recently told Collider.

Portman's reaction was similar to his onscreen companion, Christie, who plays Brienne of Tarth. He dove straight in.

"I just started reading them in the back of the cab," Portman told Collider. "I obviously didn't say anything. Just tried to keep my sh** together."

"Obviously I didn't read them all in the back of the taxi," he added (with six scripts, that would have been an expensive ride). "I only read the first little [part] of the first episode. But then I remember going home and just blitzed through everything that we'd been sent so far. Yeah, I think read them the first time, then then I read them a second time straight away."

Reading those scripts was "a very emotionally charged experience," Portman, who joined the show all the way back in Season 2, when he was 19, said.

While we don't know many details about Season 8, we do know a battle with the Night King and the undead army awaits in the weeks ahead. It was a heavy focus of the one and only trailer HBO released, and gave us just a glimpse of Podrick and Brienne standing in front of the knights of the Vale, seemingly ready to do what's necessary.  EW reported the battle called for 11 weeks of night shoots, which was tough for everyone involved.

"It was winter in Northern Ireland, so when you're working at night, you obviously sleep during the day, and then you wake up and by the time you wake up, it's dark, and then you go to work and it's dark, and then you go to bed and it's dark, and then you're kind of in this perpetual world of darkness," Portman told Collider.

One thing we do know is Podrick won't be wielding Tyrion's Battle of Blackwater ax if he makes it into that fight. It's definitely not with him in the scene we saw a snippet of in the trailer.

"Sadly not. I don't where that ax went or what happened to it," Portman said. "I always thought it would've been nice to have chance to use that ax … but no, no idea where it went."

Things do seem to get lost in Westeros. Afterall, there are only five Valyrian steel blades -- Oathkeeper (Brienne), Widow's Wail (Jaime), Heartsbane (Samwell), Longclaw (Jon Snow) and the catspaw dagger (Arya) – that seem to be left in existence.

"Exactly. When you misplace something, there's every chance that somebody picks it up before you can find it again," he said.

On Sunday night, fans will be picking up again with the HBO drama, finally seeing their favorites as they continue the fight for the Iron Throne (and for the living). But Portman says a good way to approach this last season is to let go and enjoy it.

"Expect the unexpected," he noted, telling us to remember the show is really coming to an end – for good.

"The best way to prepare would just be to try and go into it with a clear head and an open heart and don't try and predict anything or judge anything. Just take it in for what it is, because it really is a magnificent season," he said. "It's probably the best season we've done and that's such a great way to end such a great journey."

And Portman is also grateful to have been a part of it.

"People go through their entire career without getting an opportunity like this and, yeah, to be in a situation where people really care so much about your work is a real privilege," he said.

Game of Thrones kicks off its final season Sunday, April 14th on HBO.

For more Game of Thrones, check out these recent articles:

• ‘Game of Thrones’ Seasons Ranked from Worst to Best
• Watch: ‘Game of Thrones’ Season 8 Cast Reveal Their Characters’ Most Iconic Moments
• The Science of ‘Game of Thrones’: 10 Surprising Facts Behind the Fantasy
• ‘Game of Thrones’: Why Sansa Stark Is the Leader Westeros Needs

All the Celebrities, From Selena Gomez To Kylie Jenner, Spotted at Beyoncé's Renaissance Tour So Far

On Friday, it seems like the stars decided to align in Paris for Beyoncé's Renaissance World Tour stop. The stands were filled with celebrities in the VIP section and Alien Superstar risers, which are a popular choice for an unobstructed view of all the action. It was a good choice, because it was the night that Beyoncé's 11-year-old daughter Blue Ivy joined her on stage for a little singing and some sweet choreo, documented here by the musical icon's mom, Tina Knowles-Lawson.

The tour continues across Europe before heading to North America in July. Here are all the celebrities who have attended her concert series so far.

Kylie Jenner and Kris Jenner

Megan thee stallion.

The rap star was dancing in the audience in tight blue jeans and cute pink crop top, filmed by fans and looking like she was having an amazing time. Beyoncé's husband, Jay-Z, was standing next to her.

Selena Gomez

The Only Murders In the Building Star rolled up to the show in a black leather jacket with friend Edgar Ramirez.

Pharrell Williams

The “Happy” singer seemed to be attempting an incognito arrival in a black baseball cap and sunglasses.

Natalie Portman

The actress was accompanied by husband Benjamin Millepied.

Lenny Kravitz

The musician was filmed arriving by fans on Friday in Paris.

Tyler Perry

A stand out, the director was there for the tour's opening night in Stockholm instead of Paris.

“Just landed in Stockholm, Sweden!” he wrote on his Instagram Stories. “Here to stand with, applaud, and hold up Mrs. Carter for the first night of the ‘Renaissance [World] Tour!’ I’m proud of you, B. Let’s go!”

Chris Rock in the VIP section in Paris.

The rock star was also reportedly in Paris on Friday and shared a clip of herself singing along to “Cuff It” on Instagram Stories.

Olivier Rousteing

Balmain designer Olivier Rousteing attended in Paris.

Vivica A. Fox

Vivica A. Fox was seen in the VIP section next to Knowles-Lawson.

Priyanka Chopra and Daniel Kaluuya

A fan spotted Priyanka Chopra and Daniel Kaluuya dancing away to “Love On Top” in London.

Celebrity News 2024

Pete Davidson and Madelyn Cline’s Timeline

Inside Leighton Meester and Adam Brody’s Romance

All About Shay's Boyfriend Matte Babel

Rami Malek and Emma Corrin’s Relationship Timeline

Anne Hathaway Wears 2 Looks in 1 Day in NYC

Everything to Know About Gus Wenner

A Timeline of Prince William and Kate Middleton

Meet Adele's Rumored Husband, Rich Paul

Meet Lady Gaga’s Beau of 4 Years, Michael Polansky

A Timeline of Taylor Swift and Joe Alwyn’s Romance

All About Adam Shulman, Anne's Husband

The Definitive Voice of Entertainment News

Subscribe for full access to The Hollywood Reporter

site categories

‘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

• Share this article on Facebook
• Share this article on Twitter
• Share this article on Flipboard
• Share this article on Email
• Show additional share options
• Share this article on Linkedin
• Share this article on Pinit
• Share this article on Reddit
• Share this article on Tumblr
• Share this article on Whatsapp
• Share this article on Print
• Share this article on Comment

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. 

Related Stories

Oscars: 'killers of the flower moon' shut out, emma stone surprises and 'barbie' wins only once, cas awards: 'oppenheimer,' 'the last of us,' 'the bear' among winners.

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

THR Newsletters

Sign up for THR news straight to your inbox every day

More from The Hollywood Reporter

Hot docs: nishta jain’s ‘farming the revolution’ takes top jury prize  , oscar-nominated documentary filmmaker maite alberdi talks about her upcoming narrative debut, manu rios on fame, feeling exposed and spending more time in los angeles: “it’s in the works”, matteo garrone’s ‘io capitano’ wins italian film awards, ‘my old ass’ to open toronto’s inside out film festival, ‘the maze runner’ reboot in the works with ‘transcendence’ scribe jack paglen in talks to write (exclusive).

• Statistics Stats
• You are here:
• Boaventura, Daniel

Daniel Boaventura Concert Setlists & Tour Dates

Daniel boaventura at movistar arena, santiago, chile.

• Perhaps, Perhaps, Perhaps
• Dancing Queen
• I've Got You Under My Skin
• Bésame mucho
• Theme From New York, New York
• Edit setlist songs
• Edit venue & date
• Edit set times
• Add to festival
• Report setlist

Daniel Boaventura at Auditorio La Isla, Mérida, Mexico

• Corazón espinado
• Forever and Ever
• Hello Detroit
• You'll Never Find Another Love Like Mine
• I Love the Nightlife (Disco Round)
• Best Part of the Show
• Kiss and Say Goodbye

Daniel Boaventura at World Trade Center, Veracruz, Mexico

Daniel boaventura at el foro, tijuana, mexico, daniel boaventura at teatro morelos, toluca, mexico, daniel boaventura at auditorio nacional, mexico city, mexico, daniel boaventura at auditorio metropolitano, puebla de zaragoza, mexico, daniel boaventura at auditorio telmex, zapopan, mexico, daniel boaventura at plaza de toros monumental, aguascalientes, mexico.

Daniel Boaventura

More from this artist.

• Artist Statistics
• Add setlist

Most played songs

• Theme From New York, New York ( 7 )
• My Way ( 6 )
• Bésame mucho ( 5 )
• Can't Take My Eyes Off You ( 5 )
• Dancing Queen ( 5 )

More Daniel Boaventura statistics

Nobody has covered a song of Daniel Boaventura yet. Have you seen someone covering Daniel Boaventura? Add or edit the setlist and help improving our statistics!

Artists covered

[traditional] ABBA Morris Albert Desi Arnaz Charles Aznavour Alicia Bridges Solomon Burke Roberto Cantoral Charlie Chaplin The Clash Daughtry Joseph Davis Sammy Davis Jr. Neil Diamond Walter Donaldson Due Voci Erasure Claude François Gloria Gaynor Michael Jackson The Jacksons Mark James Antônio Carlos Jobim Billy Joel Elton John John Kander Greg Kihn Band Kool & the Gang The Manhattans Maroon 5 Bruno Mars Dean Martin Billy May & Les Baxter Bob Merrill Matt Monro Randy Newman Cole Porter Elvis Presley Lou Rawls Otis Redding Elis Regina Roberto Carlos Smokey Robinson Rodgers & Hart Demis Roussos Ivete Sangalo Santana Alejandro Sanz Bob Seger & the Silver Bullet Band Donna Summer

Showing only 50 most recent

View artists covered statistics

Gigs seen live by

5 people have seen Daniel Boaventura live.

mhurtado tepigthegamer55 Conini Hmoheno Jaespinoza

Daniel Boaventura on the web

Music links.

• Daniel Boaventura Lyrics (de)
• Official Homepage

Tour Update

Unlocked: jesse mccartney.

• Jesse McCartney
• May 2, 2024
• May 1, 2024
• Apr 30, 2024
• Apr 29, 2024
• Apr 28, 2024
• Apr 27, 2024
• FAQ | Help | About
• Terms of Service
• Ad Choices | Privacy Policy
• Feature requests
• Songtexte.com