Symphony Hall, Birmingham, September 6, 2021

Vangelis’ score to Ridley Scott’s 1982 sci-fi classic is performed live to film by an orchestra.

When someone is a big fan of a movie, they look for ways to expand that love through different media. Opportunities extend from visiting filming locations, viewing props and vehicles or collecting merchandise. All of these avenues are possible with Blade Runner, which has the sort of cult following that has also made it the subject of a Secret Cinema experience and now performed with live accompaniment.

Unlike most performances with live soundtracks, Blade Runner’s predominantly synth score doesn’t need a full traditional orchestra (we all remember the failings of the first official soundtrack release performed by the New American Orchestra), with the 11-piece Apex Ensemble here comprising synths, electric strings, saxophone, guitar and percussion. Following its world premiere at London’s Royal Albert Hall pre-pandemic, this presentation has completed a short tour of the UK – Glasgow, Manchester and Birmingham.

The performance begins with the jingle for the Ladd Company logo and crashes into life with drums as the opening title card introduces us to the world of the movie. And then as the vista of Hades is shown in its murky glory, the main titles kick in, vying with the sound of the spinner flying cars and jets of fire.

A sign of a good live score performance is that you forget you’re not listening to a separate performance, so integrated is it into the experience. What’s also enjoyable is when you pick up on a melody, phrase or use of music in a particular scene that you’d never noticed before.  This was my experience, and highlights were inevitably the sax-driven Love Theme, Blade Runner Blues and Tears in Rain, before all players joined in for the epic End Credits.

Verdict: For a Blade Runner fan, it’s a whole new way to experience the movie, with the soundtrack louder in the mix and sitting in front of the projected image. A different, but satisfying way to enjoy Vangelis’ score. 9/10

Nick Joy