How ‘Star Wars’ Is Changing Its Tune

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What does the term “Star Wars music” mean? Well, as Jimmy Carter might put it, you’ll recognize it when you hear it.

The majority often identify the individual behind the creation and popularization of this distinctive subgenre: John Williams, who composed the nine Star Wars films from 1977 to 2019, as well as the themes for two spinoffs and a section of Disneyland. Williams developed an orchestral musical language that was both operatic in nature and filled with catchy character themes, steeped in classical tradition. This style, now so deeply ingrained and respected by many fans, is considered by some to be nothing less than sacred text.

However, with this vast galaxy growing ever larger, the creators responsible for each fresh journey find themselves pondering over the appropriate and possible musical landscapes.

As a gamer, I was taken aback when I caught a glimpse of the trailer for the upcoming season 2 of “Andor,” set to the rhythmic twang of an electric guitar in Steve Earle’s song, “The Revolution Starts Now.” This tune, a poignant protest anthem from the Iraq War, seemed an unusual fit for this space-bound series. Yet, it echoed the maturing political themes that the show is exploring, making it an intriguing, albeit jarring, choice for the galaxy far, far away.

As a gamer, I’m always on the lookout for growth and innovation in my gaming world. Just like that, Steven Gizicki, who managed the music department at Lucasfilm during George Lucas’s tenure, was all about evolution when they were creating shows like Star Wars Detours, a hilarious yet short-lived collaboration with Robot Chicken, filled with catchy tunes. For the animated Star Wars: Rebels, he would often ponder, “What can we do here? How much can we experiment and push boundaries?

As a devoted admirer, I’d say, “The challenge wasn’t merely respect, it was more like a veil. You see, those who revere something tend to focus narrowly, like when we say ‘Jedi Rocks.’ Such an affirmation is self-explanatory.

Gizicki is discussing the unconventional pop tune that Lucas added to the 1997 “Special Edition” of Return of the Jedi, penned by Jerry Hey and played by a computer-generated band. The song, titled “Jedi Rocks“, serves as an oddity yet a refreshing reminder: music in Star Wars, even under Lucas, has always been more diverse than just heroic brass fanfares and noble melodies.

In the very first “Star Wars” movie itself, John Williams composed galactic jazz for the alien band in the cantina scene, and for the “Jedi” films, he created unusual baroque music for Jabba’s palace and the jungle celebration song “Yub Nub” for the Ewok choir. (At one stage, George Lucas thought about hiring the band Toto to compose an ending song.) For the prequel series, Williams expanded his musical palette to incorporate pagan choral works, throat singing – and indeed, electric guitar as well.

However, as fresh composers took on the challenge of filling Williams’ immense footsteps in the Star Wars universe, his distinctive style cast a towering shadow that was hard to escape. Many of these musicians, who had admired Williams greatly and even aspired to follow in his footsteps, found themselves working under Kathleen Kennedy, an ally of Williams, as well as Disney – a forward-thinking company often hesitant to venture into the unknown with experimental projects.

John Powell, who composed the music for the 2018 film “Solo: A Star Wars Story“, playfully commented to fellow composer Michael Giacchino (of “Rogue One“) that taking on the task was akin to navigating a minefield while wearing circus shoes.

The initial significant departure from the established Williams’ Star Wars soundtrack was orchestrated by Jon Favreau and The Mandalorian. For the premiere Disney+ Star Wars series, Favreau aimed to transport this familiar-yet-novel character into a fresh, yet familiar musical landscape. He discovered an ideal collaborator in composer Ludwig Göransson, who had demonstrated his ability to blend the beloved, nostalgic tones of Bill Conti’s Rocky music with a contemporary, hip-hop vibe in his score for Creed.

According to Göransson, there’s no one else quite like John Williams when it comes to composing music, and he won’t be surpassed. With his work on Creed, I believe he demonstrated how you can give a franchise a fresh spin while still paying tribute to its roots.

Göransson came to the conclusion that “kicking off with an orchestra, strings, or brass would lead to failure from the outset,” so he opted to experiment with bass recorders, electric guitars, sampled spurs of boots, and synthesizers instead. He ultimately crafted a main theme for Mando reminiscent of Williams, while maintaining elements of Star Wars orchestration. However, he blended in Old West, samurai, and futuristic retro sounds to create a unique fusion that was distinctly his own.

In an innovative twist, Andor pushed the boundaries even more. Composers Nicholas Britell and Tony Gilroy opted for a conceptual method, assigning unique musical dialects to each culture within the story. For instance, the planet Ferrix was accentuated with metallurgical tones in its score. Britell created funeral music for live musicians playing modified instruments within the story’s world, and he also employed analog synths to bring a nostalgic feeling of the “old days.” (Season two will have Brandon Roberts co-scoring alongside Britell.)

In both instances, Göransson and Britell found themselves working under visionary creators who granted them creative freedom. When Natalie Holt was tasked with composing music for the Obi-Wan Kenobi series, she had to balance Deborah Chow’s preference for a contemporary sound against Kennedy’s choice to commission Williams for a main theme and his request for more orchestral elements that evoked nostalgia.

Holt openly acknowledged, “The task was quite overwhelming.” She found comfort and motivation from Giacchino and Powell as she embarked on the challenging endeavor of composing music for a cherished character, as well as creating a fresh Darth Vader theme. She added, “I believe Ludwig and Nicholas had a less stressful experience because they were working in a different field with fewer expectations. However, Michael and I carried the heavier burden, dealing with iconic characters who already had established themes and a rich legacy.

When the series Loki debuted, Holt’s social media platforms were flooded with “pure fan adoration” – however, when Obi-Wan was released, the reception was a bit more divided, she chuckles. “Marvel fans are incredibly passionate, but they don’t scrutinize quite as intensely as Star Wars fans,” she explains.

In these interactive games, there’s a blend of respect and flexibility when it comes to the musical aspect. Notably, Composer Gordy Haab has created remarkable Grammy-winning compositions in a style reminiscent of John Williams for titles like “Star Wars Jedi: Survivor”. However, these games also offer a rich tapestry of in-game music, such as tracks from Mongolian metal band The Hu.

The musical team behind “Survivor” has crafted an eclectic playlist, described by Electronic Arts president of music Steve Schnur as “Mos Eisley Cantina meets Coachella”. They’ve even invited real Coachella acts like Joywave and Altın Gün to compose original tunes for the jukebox within Pyloon’s Saloon. This way, characters (and players) can enjoy a variety of music that resembles a lively indie concert inside the game.

Douglas Reilly, vice president at Lucasfilm Games, notes that his audience tends to be significantly younger than those who enjoyed movies from the 70s and 90s. They also have unique expectations when it comes to music, preferring it to align with their actions in a way unlike traditional linear music. He believes this gradual approach has enabled them to experiment and push boundaries without straying too far from the familiar Star Wars sound. This delicate blend of novelty and nostalgia is what creates an authentic experience for fans.

So what, exactly, is Star Wars music?

“Jedi Rocks.” Enough said. 

This article was originally published in the April 16 edition of The Hollywood Reporter magazine. If you’d like to read more articles like this one, consider subscribing to the magazine by clicking [here](http://www.hollywoodreporter.com/subscribe).

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2025-04-17 18:25