Hans Zimmer: A Different Kind of Storytelling

A musical genius, world-class performers and an unforgettable celebration of sound and emotion.

Event: Hans Zimmer Live: The Next Level

Venue: Adelaide Entertainment Centre

Date: Thursday 15 October 2026

Hans Zimmer has composed music for some of the biggest movies ever made. The Lion King, Gladiator, The Dark Knight, Inception, Interstellar and Dune. The list goes on.

And here's me, 58 years old, a lifelong musician who'd never seen any of these movies, let alone heard of Hans Zimmer. Most people discover his music through the movies. I wanted to do things in reverse, arriving as a blank canvas, free from expectations. Could the music alone take me on a journey?

Eight rows from the stage, the experiment was about to begin.

What followed was a fully immersive sound experience that kept catching me by surprise. At times, I found myself leaning forward in my seat, mouth open in sheer amazement.

The concert opened with The Dark Knight (Batman). Thunder gave way to a dark, industrial soundscape. Heavy bass and driving rhythms built suspense, with sudden shifts in the music adding to the tension. Towards the end of the piece, without warning, an incredibly deep bass frequency roared through the arena. My chair shook as the vibration surged through me, creating an intense full-body buzz that left me feeling instantly nauseous.

In all my years of experiencing live music, I'd never felt anything quite like it.

Extraordinary Individuals, Performing as One

Japanese electric cellist Mariko Muranaka was impossible to ignore. Her electric cello sparkled under the lights as she sliced her bow across the strings in a frenzy of movement, yet with remarkable precision. She gripped the instrument as though wringing its neck, her waist-length hair whipping around. Fierce, intense and full of attitude.

Guitarist Guthrie Govan was a different character altogether. His long silver-white hair glowed under the stage lights, adding to his enigmatic presence. Hans described him as possibly the world's best guitarist, praising his ability to improvise something new every night. I loved watching Zimmer stand almost face-to-face with Guthrie during his solos, smiling broadly and soaking up every note. He seemed just as captivated as we were.

Slovakian musician Veronika Vitázková impressed with her versatility, switching between flutes, panpipes and an electronic wind instrument that looked like a space-age breathalyser.

Colombian bassist Juan García-Herreros, better known as Snow Owl, had the imposing presence of a warrior, with his long hair adding to the effect. Yet as he drew his bow across the strings of his upright bass, the sound was surprisingly smooth, mellow and perfectly controlled.

On traditional drum kits, Holly Madge and Aicha Djidjelli were perfectly synchronised, right down to their head movements. I noticed that when Zimmer introduced them individually, each stood to acknowledge the audience. They then exchanged a glance before sitting back down on their respective drum stools at precisely the same moment.

Even when they weren't playing, they were in time.

Returning after the interval, Zimmer showed his cheeky, self-deprecating humour. Complaining about the unexpected cold in Australia, he joked that he needed an old man's cardigan, before quickly acknowledging that he was, in fact, an old man himself. Zimmer had a wonderful way of making his musicians feel like the stars of the show. His introductions were filled with warmth, humour and genuine admiration. He celebrated their individuality, giving each performer their moment to shine.

A great musician can command attention. A generous one knows how to give it away.

A Language Beyond Words

Australian vocalist Lisa Gerrard, described by Zimmer as a 'national treasure', has a rare gift. She can move an audience without singing a single recognisable word. As a child, she developed her own vocal language, which she calls the language of the heart. Her father famously defended her unique singing style, encouraging her rather than trying to change it.

She initially turned down Zimmer's invitation to work on Gladiator, reluctant to be associated with another Russell Crowe film. Director Ridley Scott suggested sending her footage of the movie. After watching it, she changed her mind. The rest is history.

Onstage, she was graceful and stately. Her captivating voice needed no translation.

You felt it.

Moments of Wonder

One of the night's most breathtaking performances came during Interstellar, featuring music that began as a love note to Zimmer's son. Vocalist Molly Rogers reached incredibly high notes, using wordless sounds while violinist Alexandra Tirsu matched her pitch with remarkable precision. At times, voice and violin became almost indistinguishable, creating one beautiful sound. Alexandra's gentle side-to-side bow strokes were almost hypnotic. Together, they held the audience spellbound, earning a huge round of applause.

Suspended high above the audience at the back of the arena, aerial performer Nina Treiber shimmered under white spotlights, her sparkling bodysuit transforming her into a human mirrorball. All around me, heads turned to watch. While aerialists often dazzle with speed and daring spins, Nina's performance was all about grace and beauty. Her gentle movements made her appear almost weightless, as though floating through space.

It was stunning.

The charismatic South African vocalist Lebohang Morake, better known as Lebo M, received a huge cheer as he appeared onstage. He's the voice behind the famous opening chant of The Lion King. Having never seen the movie, I had no idea I was watching the man responsible for one of cinema's most recognisable musical moments.

The rich, powerful voices of the Nairobi Chamber Chorus were magical. Their faces radiated joy as they swayed naturally to the rhythms. They seemed to be having the time of their lives, and I couldn't help smiling.

There was so much to take in, but one thing really impressed me... the sound quality. All that musical power was delivered with incredible clarity. The volume of every instrument seemed perfectly balanced. Even with the whole band playing, I could isolate each sound. Nothing competed. Everything complemented.

What stayed with me wasn't just the outstanding performances and visual spectacle. It was the personalities of the musicians, the way they connected with each other and how much Zimmer clearly loved watching them shine. It was a musical rollercoaster. One moment powerful and confronting, the next beautiful and moving. I never knew quite what was coming next.

After a lifetime of playing music, I walked away feeling I'd grown as a musician. That's something I hadn't expected.

I arrived with a blank canvas. Hans Zimmer filled it with sound, emotion and a whole new way of telling stories.

Photography by Brett Partington

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