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Black spiders concert setlists & tour dates, black spiders at winter's end 2024.

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Black Spiders at Winter Rock Fest 2023

• Si, El Diablo
• Alright Alright Alright
• Just Like a Woman
• KISS Tried to Kill Me
• Teenage Knife Gang
• Stabbed in the Back
• A Rat is a Rat

Black Spiders at The Junction, Plymouth, England

• Death Comes Creepin

Black Spiders at The Patriot, Crumlin, Wales

Black spiders at anarchy brew co, newcastle upon tyne, england.

• Happy Birthday
• Medusa's Eyes
• Driving My Rooster
• Down to the River

Black Spiders at The Garage Attic, Glasgow, Scotland

• Wizard Shall Not Kill Wizard

Black Spiders at The Live Rooms, Chester, England

Black spiders at the warehouse, leeds, england, black spiders at rescue rooms, nottingham, england.

• Rock You Like a Hurricane

Black Spiders at Guildhall Studio, Portsmouth, England

• Kiss Tried To Kill Me

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Most played songs

• KISS Tried to Kill Me ( 112 )
• Stay Down ( 112 )
• Just Like a Woman ( 104 )
• What Good's a Rock Without a Roll? ( 82 )
• St. Peter ( 72 )

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AC/DC Jimmy Barnes The Easybeats

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604 people have seen Black Spiders live.

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Black Spiders

Black Spiders are a rock band based in Sheffield, featuring Pete from Groop Dogdrill, onetime cavern regulars. Their music is fast paced and more...

Black Spiders image © Mark Latham

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Black Spiders: Think it's all over? It is now

Although, not until their farewell tour comes to a close...

Black Spiders fontman Pete ‘Spider’ Spiby explains why the Sheffield- and London-based hard rockers are signing off after a nine-year career.

Why are these Black Spiders’ last-ever dates?

Our situation is difficult. There’s no regular income from the band. I don’t know if we became jaded. I can’t pinpoint any one thing. It’s the culmination of everyone’s lives outside of the band. Making a ten-track album – is that something a band should even still be doing in 2017?

“Geographical differences” have been cited.

Well, yeah. But there are a lot of unanswered questions. Five years ago we hit a plateau and we can’t get over it. We’ve got a good fanbase and even some new songs, but in terms of making it a career it [the band] isn’t going anywhere.

Your farewell announcement, “We Dark Riders, for now, bid you adieu”, doesn’t sound like it’s categorically final.

We’ve discussed releasing a final EP for the tour, and it may or may not happen, but there’s no hidden meaning to the word ‘adieu’. It’s just the type of wording we always use for our posts. All five members of the Black Spiders felt that Black Spiders could not exist without the five original members.

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Presumably you want these final shows to be parties and not wakes?

We hope they’ll be like a New Orleans funeral march, starting off a bit sombre but by the end people will be dancing on the tables.

The final show takes place at the Rescue Rooms in Nottingham.

Yeah. We were hoping to do another show afterwards but the diary schedules are too complicated. We’d also have liked to do our own headline show in London, where we’re playing as part of the Desertfest [headlined by Turbonegro and John Garcia], but it’s impossible. That’s a shame.

How do you think you’ll feel at the end of the tour?

I can’t say. Hopefully everyone will be putting in one hundred per cent during the shows. And afterwards.

What kind of post-Spiders plans do the band members have?

Personally speaking, I’ve played music since leaving school and will carry on. I’m sure we’ll all continue in one form or another.

No regrets?

A crack at America would have been lovely. Had we got one, then we may not have been having this conversation. But we achieved a hell of a lot as an independent band. Ozzy Osbourne chose us to support him at the iTunes Festival. We played Hellfest, Wacken, Download and Sonisphere, and we headlined our own tours. We were a bit older [than some of our rivals] and less mouldable. We know that if you don’t make it today, then you’re tomorrow’s chip paper.

The tour begins in Birmingham on April 27.

Dave Ling was a co-founder of Classic Rock magazine. His words have appeared in a variety of music publications, including RAW, Kerrang!, Metal Hammer, Prog, Rock Candy, Fireworks and Sounds. Dave’s life was shaped in 1974 through the purchase of a copy of Sweet’s album ‘Sweet Fanny Adams’, along with early gig experiences from Status Quo, Rush, Iron Maiden, AC/DC, Yes and Queen. As a lifelong season ticket holder of Crystal Palace FC, he is completely incapable of uttering the word ‘Br***ton’.

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Black Spiders announce new single, November tour dates

Home » Black Spiders announce new single, November tour dates

When Sheffield rock heroes Black Spiders announced their hiatus in 2017, no one in their right minds would have predicted that when the good times, big balls n’ riffs rockers did return, it would be in the middle of a global pandemic. But that is, of course, exactly what happened and in March of this year, Black Spiders unleashed their highly anticipated brand new self-titled album upon an eager, locked down, rock hungry audience.

Critically acclaimed and hungrily lapped up by the Black Spiders rock starved fans, the album put the band firmly back on the map of rock, the only piece missing from the jigsaw being the opportunity to take these pulsating new songs out onto the world’s stages where they belonged. With gigs scheduled to happen right after ‘Freedom Day’ in July, the band were scuppered once again and had to cancel the dates having fallen victim to the ‘ping-demic’. Thankfully, the Black Spiders were able to finally crank out their riffs at this year’s Bloodstock Festival for a triumphant set and are now primed to tour the UK in November and will be releasing a new single from the aforementioned album, the defiant ‘Stabbed In The Back’.

“Even before Julius Caesar made it popular, people have been getting ripped off, misrepresented, f**ked over and double-crossed, left, right and centre,” states guitarist and vocalist Pete Spiby. “It happens all the time and we are no strangers to this occurrence. You just have to find the strength to carry on and keep some dignity.”

“It’s been and continues to be such a strange time, so we’re still getting used to being out and about,” continues Pete. “We set out to tour this album this year and we are determined to honour that. We are already back in the studio, recording towards our next release, so we need to get out there and play these songs while we can!”

Watch the ‘Stabbed In The Back’ video HERE :

Catch Black Spiders live at the following dates in November.

Wed 3 rd Nov – Chester Live Rooms (rescheduled)

Thur 4 th Nov – HRH 14 Great Yarmouth

Fri 5 th Nov – Milton Keynes Craufurd Arms (rescheduled)

Sun 21 st Nov – Bournemouth The Old Fire Station

Mon 22 nd Nov – Oxford O2 Academy

Tue 23 rd Nov – Newcastle Academy

Wed 24 th Nov – Glasgow Cathouse

Thur 25 th Nov – Edinburgh La Belle Angelle

Sat 27 th Nov – Cardiff The Globe

Sun 28 th Nov – Wolverhampton KKs Steelmill

Mon 29 th Nov – Sheffield Academy

Tue 30 th Nov – London Islington O2 Academy

Wed 1 st Dec – Bristol Thekla

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MUSIC NEWS: Black Spiders Announce UK Tour Dates

Black Spiders have announced a run of UK headline dates taking place in September 2023.

The Hot Damn! are set to release at all the dates, see them at the following dates:

September 2023 Fri 15th – TUNBRIDGE WELLS – The Forum Sat 16th – LONDON – New Cross Inn Sun 17th – PORTSMOUTH – Moonshine Mon 18th – NOTTINGHAM – Rescue Rooms Tue 19th – LEEDS – The Warehouse Thu 21st – CHESTER – Live Rooms Fri 22nd – GLASGOW – The Garage (Attic) Sat 23rd – NEWCASTLE – Anarchy Brewery Sun 24th – CRUMLIN – The Patriot Mon 25th – PLYMOUTH – The Junction

Tickets are available from Wednesday 15th March at 10am via Planet Rock and general sale is from Friday 17th March 2023 at 10am.

The band have confirmed their new album Can’t Die, Won’t Die is set for release on 12th May 2023 via Spinefarm . Check out the video for the album’s lead single Hot Wheels below! 

Can’t Die, Won’t Die is available to pre-order HERE .

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Pre-sale: Black Spiders announce September 2023 UK tour with The Hot Damn!

They play 10 headline shows

Fresh from completing their recent run of UK shows, Black Spiders have lined up new headline tour for September 2023.

Opening at The Forum in Tunbridge Wells on Friday 15th September, the tour visits London, Portsmouth, Nottingham, Leeds, Chester, Glasgow, Newcastle and Crumlin before culminating at The Junction in Plymouth on Monday 25th September.

The very special guests at all 10 shows will be kaleidoscopic rockers The Hot Damn!

Black Spiders pre-sale:

Planet Rock's 48-hour ticket pre-sale to Black Spiders' UK tour starts RIGHT HERE at 10am on Wednesday 15th March.

Buy Black Spiders pre-sale tickets

Black Spiders’ headline tour follows the Friday 12th May release of their fourth studio album ‘Can’t Die, Won’t Die’ via Spinefarm Records.

Produced by their long-time studio collaborator Matt Elliss, the 12-track albums boasts the infectious Planet Rock playlisted lead single ‘Hot Wheels’ .

“It’s a party album from top to tail, every one a banger!,” enthuse Black Spiders. “As usual, there is something for everyone and maybe some surprises. We went all out, balls out on this record, each track is an ear worm. Never has a title been more apt!”

‘Can’t Die, Won’t Die’ is Black Spiders’ first record without lead guitarist Ozzy 'Owl' Lister, who recently decided to retire from the band, however the band are fleshed out to a three guitar attack five-piece band in the live arena.

Black Spiders also play Call of the Wild Festival, Maid in Stone Festival and Firestorm Festival this summer, so expect them to be firing on all cylinders come September.

Black Spiders’ UK tour dates:

SEPTEMBER 2023

Tunbridge Wells The Forum – Fri 15th

London New Cross Inn – Sat 16th

Portsmouth Moonshine – Sun 17th

Nottingham Rescue Rooms – Mon 18th

Leeds The Warehouse – Tue 19th

Chester Live Rooms – Thu 21st

Glasgow The Garage (Attic) – Fri 22nd

Newcastle Anarchy Brewery – Sat 23rd

Crumlin The Patriot – Sun 24th

Plymouth The Junction – Mon 25th

28 rock bands named after real people:

Rock legends Pink Floyd took their moniker from the given names of two Piedmont blues artists that Syd Barrett had in his record collection, Pink Anderson and Floyd Council.

Pink Floyd - Pink Anderson and Floyd Council

Photos of Pink Anderson and Floyd Council at the Pink Floyd exhibition Their Mortal Remains at London's Victoria and Albert Museum in 2017.

Lynyrd Skynyrd

Southern rockers Lynyrd Skynyrd are named after high school gym teacher Leonard Skinner who taught Ronnie Van Zant, Gary Rossington, and Bob Burns at Robert E. Lee High School in Florida in the 1960s. Skinner was reportedly notorious for enforcing the school's policy against boys having long hair, and the Lynyrd Skynyrd band name was seen as an act of rebellion against him.

Lynyrd Skynyrd - Leonard Skinner

A high school yearbook photos of Leonard Skinner in 1969. He died in 2010 aged 77.

The Yardbirds

The influential British band's name was partially inspired by the nickname of American jazz saxophonist Charlie 'Yardbird' Parker. It's also the name given to rail yard hobos in Jack Kerouac's 1957 novel On the Road.

The Yardbirds - Charlie 'Yardbird' Parker

Jazz musician Charlie 'Yardbird' Parker in 1955 – the year of his death aged just 34.

New York punk trailblazers Ramones were named by Dee Dee Ramone (Douglas Glenn Colvin) after Paul McCartney's briefly adopted pseudonym Paul Ramon in his Silver Beetles days in 1960.

Ramones - Paul Ramon with The Silver Beetles

Paul McCartney (aka Paul Ramon) performs with The Silver Beetles in 1960. John Lennon and George Harrison were also in the group.

The Hollies

The Hollies' co-founder Graham Nash revealed in a 2009 interview that they coined their band just moments before they were due to step on stage at the Oasis Club in Manchester in December 1962. The name comes from their admiration for Buddy Holly.

The Hollies - Buddy Holly

Rock legend Buddy Holly in the late 1950s who inspired The Hollies band name. He died aged just 22 in the 3rd February 1959 plane crash that also claimed the lives of Ritchie Valens, "The Big Bopper" J. P. Richardson and their pilot Roger Peterson. It was later known as 'The Day the Music Died.'

Previously called City Kidd, the Sacramento rockers renamed themselves Tesla in homage to inventor and electrical engineer Nikola Tesla during the recording of their debut album 'Mechanical Resonance' in 1986. Some of the band's song and album titles nod towards Nikola Tesla too.

Tesla - Nikola Tesla

An 1890 photo of 34-year-old inventor Nikola Tesla. He lived until he was 84 and was famously portrayed by David Bowie in the 2006 movie The Prestige.

Jethro Tull

With Ian Anderson struggling to settle on a name for his band in the late 1960s (names included Navy Blue, Ian Henderson's Bag o' Nails, and Candy Coloured Rain), a member of the band's booking agent's staff christened them Jethro Tull after the 18th-century agriculturist.

Jethro Tull, who helped to bring about the British Agricultural Revolution of the 18th century. He perfected a horse-drawn seed drill in 1701 that economically sowed the seeds in neat rows, and later developed a horse-drawn hoe. What a guy!

Creedence Clearwater Revival

In 1967 the band toyed with renaming themselves Muddy Rabbit, Gossamer Wump, and Creedence Nuball and the Ruby, however they settled on Creedence Clearwater Revival with the 'Creedence' a nod towards guitarist Tom Fogerty's friend Credence Newball.

Crazy Horse

Formerly known as The Rockets, the American band became known as Crazy Horse in 1969 when they first teamed up with Neil Young. The band was named after the 19th Century Sioux Tribe leader Crazy Horse.

The Crazy Horse Memorial in the Black Hills of South Dakota. Work began on the sculpture in 1948 and it's still unfinished.

Billy Gibbons took direct inspiration from blues artists BB King and ZZ Hill as he liked the way the initials sounded in their stage names. He was initially going to call his band ZZ King but became concerned it sounded to similar to the original artist. Gibbons ultimately settled on ZZ Top as he remarked the "king is at the top."

ZZ Top - BB King and ZZ Hill

Late blues icons BB King and ZZ Hill.

Greta Van Fleet

The retrogressive rockers are named after a bluegrass musician called Gretna VanFleet, who hails from their home town of Frankenmuth, Michigan. Although Greta Van Fleet didn't initially ask her for permission, the 93-year-old subsequently gave them her blessing.

Molly Hatchet

Just like their fellow Jacksonville rockers Lynyrd Skynyrd, Molly Hatchet were named after a real person. Molly Hatchet's moniker is more steeped in history, however, as they're named after an infamous 17th-century axe murderess dubbed 'hatchet molly'.

Leicester indie rockers Kasabian take their name from Linda Kasabian who was a member of Charles Manson's cult, the Manson Family, in the late 1960s and 1970s. Linda Kasabian was present at both the Tate and LaBianca murders committed by the cult in 1969, but received immunity for her testimony as a key witness in the trial of Manson.

Kasabia - Linda Kasabian

Linda Kasabian at a press conference in 1970. She passed away on 21st January 2023 aged 73.

Mookie Blaylock (Pearl Jam)

Huge fans of the New York Jets basketball player Mookie Blaylock, the Seattle rockers decided to name their band in his honour. After playing a series of shows as Mookie Blaylock, they renamed themselves Pearl Jam in October '90 after signing to Epic Records.

Mookie Blaylock (Pearl Jam) - Mookie Blaylock

Basketball player Mookie Blaylock when he played for Golden State Warriors

Franz Ferdinand

Scottish indie rockers Franz Ferdinand are named after Archduke Franz Ferdinand of Austria whose assassination in Sarajevo in June 1914 sparked World War I.

Franz Ferdinand - Archduke Franz Ferdinand

A portrait of Archduke Franz Ferdinand of Austria.

Dead Kennedys

The politicised punk rockers' somewhat controversial name references the deceased members of the Kennedy family, including the assassinated President John F. Kennedy. Guitarist East Bay Ray said they weren't trying to insult the Kennedys. "The assassinations were in much more poor taste than our band," he argued. "We actually respect the Kennedy family. When JFK was assassinated, when Martin Luther King was assassinated, when RFK was assassinated, the American Dream was assassinated. Our name is actually homage to the American Dream."

Dead Kennedys - John F Kennedy

The 35th president of the United States, John F. Kennedy, who was assassinated in November 1963.

Kings of Leon

The three Followill brothers (Caleb, Jared and Nathan) and their cousin Matthew named Kings of Leon after their grandfather Leon Followill, who died in January 2014.

The Brian Jonestown Massacre

Founder and leader Anton Newcombe named his band after late-great Rolling Stones founder Brian Jones and the 1978 Jonestown Massacre.

The Brian Jonestown Massacre - Brian Jones

Late-great Rolling Stones guitarist, founder and original leader Brian Jones in 1964.

Jimmy Eat World

Jimmy Eat World indirectly take their moniker from guitarist Tom Linton's brother Jim. He explained in 1999: "My brother Jim beat up my younger brother Ed, and Jim ran into his room and locked his door, and Ed drew this picture that said 'Jimmy Eat World', and it was a picture of him eating the world. My brother Jim is kind of a big guy. A stupid name."

The Dandy Warhols

The Oregon alt-rockers' name is a play on the name of revered American pop artist Andy Warhol.

The Dandy Warhols - Andy Warhol

Andy Warhol (1928-1987) was an artist and experimental filmmaker and one of the founders of the Pop Art movement.

Melvins are named after a man called Melvin who was frontman Buzz Osborne's supervisor when he worked at a supermarket in Montesano, Washington. The real Melvin was widely disliked by staff and Osborne thought it would be a gloriously ridiculous name for his band.

James Gang are named after the 19th-century gang of American outlaws led by Jesse James. The band's final album 'Jesse Comes Home' references Jesse James and the artwork features a painting of the folk hero riding off into the sunset.

James Gang - Jesse James

Jesse James (5th September 1847 to 3rd April 1882) was an American outlaw, gang leader, bank robber, train robber, and murderer from the state of Missouri and the most famous member of the James-Younger Gang.

The Dillinger Escape Plan

Morris Plains metalcore merchants The Dillinger Escape Plan were christened by their friend Matt Makowski after he watched a documentary about 1930s bank robber John Dillinger, who made multiple escapes from jail.

The Dillinger Escape Plan - John Dillinger

Bank robber John Herbert Dillinger in a colourised photo from 1933. He was shot dead while running from police the following year aged just 31.

Hootie and the Blowfish

In 1986, American soft rockers Hootie and the Blowfish named themselves after the nicknames of two friends from college – 'Hootie' was Ervin Harris, and 'Blowfish' was Donald Feaster. ·

Van Der Graaf Generator

A few months after the death of pioneering American physicist Robert J. Van de Graaff in January 1967, Chris Judge Smith paid homage by christening his and Peter Hammill's newly formed band Van Der Graaf Generator after the scientist's famous high-voltage generators.

Van Der Graaf Generator - Robert J. Van de Graaff

Robert J. Van de Graaff with a spherical atom-bursting terminal in 1933.

Jane’s Addiction

Jane's Addiction's name honours Perry Farrell's housemate, Jane Bainter, who was their muse and inspiration. Farrell's then girlfriend Casey Niccoli initially suggested the name 'Jane's Heroin Experience' but Farrell decided to tweak the idea.

Dropkick Murphys

The American Celtic punk band are named after professional wrestler and sanatorium owner John 'Dropkick' Murphy, who died age 66 in 1977.

The Marshall Tucker Band

South Carolina rockers The Marshall Tucker Band are named after a blind piano tuner from Columbia, South Carolina. While rehearsing in a warehouse in their embryonic days, the fledgling band saw the name 'Marshall Tucker' inscribed on a key. They dubbed themselves The Marshall Tucker Band and later discovered the real Marshall Tucker had previously hired the rehearsal space. Marshall Tucker died in January 2023 at the ripe old age of 99.

Frankie Goes to Hollywood

Liverpool 80s pop icons Frankie Goes to Hollywood take their indirectly name from legendary crooner Frank Sinatra. The moniker is lifted from the words 'Frankie goes to Hollywood' on a 1940s billboard poster announcing a Frank Sinatra movie.

Ol' Blue Eyes himself Frank Sinatra in 1945.

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Scorpions tour dates 2024

Scorpions is currently touring across 18 countries and has 33 upcoming concerts.

Their next tour date is at Etihad Arena, Yas Bay in Abu Dhabi, after that they'll be at Al Dana Amphitheatre in Manama.

Currently touring across

• 🇦🇪 United Arab Emirates
• 🇰🇿 Kazakhstan
• 🇳🇱 Netherlands
• 🇵🇹 Portugal
• 🇸🇰 Slovakia
• 🇱🇺 Luxembourg
• 🇨🇭 Switzerland
• 🇨🇿 Czech Republic

Upcoming concerts (33) See nearest concert

Etihad Arena, Yas Bay

Al Dana Amphitheatre

Maca Kucukciflik Park

Almaty Arena

Black Sea Arena

Rock in Rio Lisboa

Théâtre Antique

Zénith de Nancy

Graspop Metal Meeting

Budapest Arena

Stars of Sound Festival

Pinot and Rock

Breisach am Rhein - Martin Schongauer Gymnasium

Fritz-schanno-park

Concert Music Festival

WiZink Center

Tsunami Xixón

Festival de Carcassonne

PGE Narodowy

Enteria Arena

Arena Nürnberger Versicherung

Barclays Arena

Quarterback Immobilien Arena

LANXESS arena

Festhalle Frankfurt

Past concerts

Bakkt Theater, Planet Hollywood Resort & Casino

View all past concerts

Support across tour dates

Recent tour reviews

I sold my tickets because Five Points amphitheatre is the worst venue I have ever been to. The only time I have enjoyed a show there is when buying VIP front and Center seats and even then there security is the worst. Last show the people I knew from the meet and greet with Foreigner spent between 900 and 2000 for a paid of tickets yet when I walked down to the stage Indis not get stopped once and asked for my ticket. I learned against the rail against the stage with the aisle behind me and never was told to leave the area and neither was anyone who paid $49 for baxkrow seats. When you sit in the upper section, meaning 300's, there is no security, the seats are temporary, and its a bit more cramped then the airlines. Of someone moves, the entire section moves, and the entire row has to clear the row because it is impossible to get buy. Of anything happens in the upper sections, which is very possible seeing that everytime you get to your seat you have to ask someone who doesnt belong there to move. And when I sat 2nd row, I had at least 10 different neighbors from people climbing over the seats. With such

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The band was exceptional, the lights magical, sound a bit of a problem at the beginning, but grew better towards the end of the show, especially when singing their older songs.

The Athens State Orchestra did not manage to see, except the last song - the one with Shenker - as I was entering the stadium, because, even though I had the most expensive VIP ticket (with numbered seat), I - among most of the crowd - could not enter, since there where NO lines, NOONE from the production company, NO security to help and guide us. As a result, the concert began as sceduled, at 21:00 sharp ad all of us were outside trying - I got pushed over, squeezed etc - to get in. Because of that - the entrance delay - they did not check our tickets (nobody was at the gates any way) so whoever wanted to enter the stadium - with NO ticket - could by all means enter. When entered the stadium there were AGAIN nobody to escort or show us to our seats, with limited lighting, and when we FINALLY found our seats there were people seating already refusing to get up - since they told us that people from the organisation told them to seat WHEREVER they wished, since there was no time to seat them and obviously without entry control we were outnumbered - and spend about 30 minutes trying to convince them for the obvious: to get up and let us seat on our NUMBERED seats, while searching for SOMEONE from the production company to assist. The stairs were full of people (this is against safety policy) and I managed to get down to arena after stepping on hands (it was dark as I mentioned earlier) to find someone in charge....NOONE, only one security guy who wasn't authorised to help with the situation and finally a "staff" who told me that he was a driver and would try to find someone to assist. They had NO CBs to intercommunicate and were running up and down to find whomever they were searching for. Finally, the paramedics, also had NO CBs and as we saw a girl in distress form above we were trying to communicate through signals that they should speed to the spot. The production company - I've never heard of them in Greece - are plain potential murderers.

The show of the concert was great, but we didn't really see the collusion of the band with the symphonic orchestra. The orchestra came, played their part, and after that we never saw them again. The sould could be better. The legendary Scorpions gave it all though. They made as feel good and they carried as away!

The organization was not good. Two small entrances for sooo many people. That lead to huge queues. I felt there was not so much security, during the check of the tickets.

It was great seeing Kallimarmaro full, from people who came to enjoy Scorpions!

Great experience. Could be much better.

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S W A N  L A K E

M U S I C: Petr Ilich Tchaikovsky V E R S I O N AND  D I R E C T I O  N:  Victor Smirnov-Golovanov C H O R E O G R A P H Y : Natalia Ryshenko, Victor Smirnov-Golovanov D E S I G N E R:  Natalia Povago C O S T U M E S:  Natalia Povago

RUNNING TIMES:  ACT 1: 70 minutes; ACT 2: 60 minutes;

A C T  O N E

It’s Prince Siegfried’s 21 st birthday.  Young people have gathered to celebrate the occasion including the Prince’s friend Benno, and his old tutor Wolfgang.  The festivities are spirited and there is much dancing and games.  In the midst of the activity, the Prince’s aunt arrives to remind her nephew that his coming of age is a serious affair – it is time for him to marry.   A Ball has been arranged for the following evening and there, from a group of prospective fiancées, he is to choose a bride.  

Siegfried is disconsolate at the thought of his carefree youth slipping away.  He has no desire to marry.   The day draws to a close and in an attempt to cheer his friend, Benno points to a flock of wild swans in flight and suggests a hunting expedition.  Deciding that life is still to be enjoyed Siegfried orders pursuit.  

A C T  T W O

The hunting party follows the swans thought the woods, reaching a clearing where they settle on a nearby lake.  Siegfried’s attention is suddenly attracted by a beautiful white swan, which is transformed into a lovely young maiden.  She is Odette, Queen of the Swans.  The evil sorcerer Von Rothbart holds her under his spell – by day she and her friends are and must remain swans, but between midnight and dawn they may resume their human form.   Only the pure love of a young man can remove the curse.  Astonished by her beauty and full of love for Odette, Siegfried’s love will destroy evil powers.  Von Rothbart suddenly appears in the form of an owl, beckoning menacingly to Odette.  As dawn breaks, the lovers bid farewell.  Odette returns to the lake, resuming her guise as a swan and Rothbart plots to make the Prince break his vow.

A C T  T H R E E

The entire court is assembled for Siegfried’s betrothal Ball, where the invited Princesses and their families eagerly await the decision of the Prince.  The Prince’s aunt indicates he is to choose a bride from the maidens present, but none pleases him.  The young Prince’s mind is still filled with images of the beautiful Odette. Mindful of his vow of Fidelity, he pays little attention to the eligible young women with whom he is presented.  Suddenly, a fanfare announces the arrival of two new guests.  It is Von Rothbart disguised as a nobleman with his daughter Odile.   

The Prince stands transfixed by her likeness to Odette and overwhelmed by the unexpected appearance of his true love, he asks her to dance.  Odile so bewitches the Prince that he asks for her hand in marriage.  Convinced he is with his beloved Odette, he declares his fidelity in front of all present.  Triumphantly, Von Rothbart and Odile reveal themselves.  The Prince realizes too late that he is a victim of their cruel treachery.  Odette has been betrayed and now can never be released from her enchantment.  In despair, the Prince runs to the lake to search for her.

A C T  F O U R 

The swan maidens are anxiously awaiting Odette’s return when she runs in and tells them in anguish of Siegfried’s betrayal.  The evil magician Rothbart has triumphed and there is no salvation for the swan maidens now.  A storm springs up on the lake.   The Prince comes running to the lakeside and begs Odette to forgive him, but Odette is destined to die.  The Prince fights and overcomes Von Rothbart, and at last the swan maidens are freed from the evil spell, and the souls of Siegfried and Odette are united in eternal happiness.

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'Spider-Man: Across the Spiderverse Live in Concert' Announces Tour Dates

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Get ready, web-heads,  Spider-Man: Across the Spider-Verse   is returning to screens! On Monday, it was announced that after the success of last year's live orchestral concert tour of  Into the Spider-Verse , its sequel will be getting the same treatment with a 50+ U.S. city tour.

Spider-Man: Across the Spider-Verse:  Live in Concert will kick off in London on June 30, before touring the rest of the United Kingdom. The tour will then make its U.S. debut in the fall, starting on Sept. 1 in Nashville, Tennessee. 

Audiences will get to watch  Across the Spider-Verse  presented on a HD screen, accompanied by a range of musicians and instrumentalists performing music from the film's score and soundtrack live to picture. This will include an orchestra, a scratch DJ on turntables, percussion and electronic instruments.

" Across The Spider-Verse is probably the most exciting, ground breaking and impactful score I've written," says the Emmy-winning composer, Daniel Pemberton, who created the film's score. "I've always believed that there should be no barriers to music, but it's rare to get the opportunity that you get within the Spider-Verse -- where else could you have powerful orchestral themes side by side with punk drum solos, virtuoso record scratching next to twisted electronics, off-kilter whistling next to hip-hop beats?"

A press release shares that the Oscar-nominated composer took influence for both Spider-Verse film scores from "growing up amid the London rave scene in the 90s, where he regularly immersed himself in ambient and techno nights." He also drew inspiration from "the scratch DJ's at The Blue Note Club in East London, where he first witnessed scratching vinyl being used in an artistic form. This, coupled with heavy-drumming and punk guitars, gives the soundtrack its unique sound, fusing genres to make something bold and unparalleled which will be brought to life in an exhilarating style in these live concerts."

"Watching the film with the live band performing in a huge room of people is one of the most thrilling ways to experience it and it's a huge honor to know that audiences are going to get a show that delivers a unique emotional hit they will hopefully remember for a long, long time after," Pemberton adds.

Across the Spider-Verse  shows Miles Morales (voiced by Shameik Moore) meeting more Spider-People as  he reunites with Gwen Stacy  (Hailee Steinfeld) for a new adventure. This time, he's battling the multiverse-traversing The Spot and dealing with an adversary that hits closer to home -- Oscar Isaac's Miguel O'Hara, aka Spider-Man 2099 and his Spider-Force of multiverse protectors, which includes  Issa Rae's Jessica Drew , Spider-Punk (Daniel Kaluuya), and Spider-Man India (Karan Soni).   

Metro Boomin curated the film's beloved soundtrack, which features appearances from Future, Nas, Swae Lee, James Blake, Lil Wayne, Lil Uzi Vert and more.

Tickets for  Spider-Man: Across the Spider-Verse:  Live in Concert will be available starting May 3. For the complete tour schedule visit spiderverseinconcert.com.

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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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