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“Up is Down” is as rowdy as you’d expect of the song that accompanies At World’s End’s ship-flipping sequence, in which Jack and the crew realize that the only way to escape Davy Jones’ Locker is to flip the Black Pearl upside down. Zimmer layers the electric guitar above the strings that carry the melody in the song’s original arrangement, and the addition keeps the medley from losing momentum, especially as it segues into the much faster and much more dynamic “Up is Down.” It’s a ponderous song, victorious but still a little bittersweet, in respect for the pirates lost during the preceding battle.
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The electric guitars also help connect the Jack Sparrow theme to the much slower and seemingly disparate “One Day.” The song is the grand finale for At World’s End, and the last song in the movie before “Drink Up Me Hearties” leads audiences into the movie’s end credits. The addition of wailing electric guitars and synths to the orchestration help bring the music into the festival/concert space, creating a whopping wall of sound. More and more instruments join the group until a staccato violin lead-in gives way to the faster, fuller theme. The Jack Sparrow theme starts slowly and sparsely a cello (played by Tina Guo), backed by Zimmer on the piano and Nick Glennie-Smith on a wheezing accordion, plays the barest version of the pirate’s intro. It’s Zimmer blazing through his greatest hits (with the exception of the Davy Jones theme, which I’ll allow because Jones was admittedly a villain), and still telling a story within. The roaring Coachella medley is made up of four distinct parts: the first is the Jack Sparrow theme, the second and third pull from At World’s End’s “One Day” and “Up is Down,” and the final element is “He’s a Pirate,” which was co-composed with Klaus Badelt for the first movie.
“We’re just trying to entertain them, trying to give them an experience that they haven’t had before.” “We’re not trying to sell people anything,” Zimmer said. It’s not typical festival music, but that’s part of the point. The same goes for the music Zimmer composed for the Pirates movies, which are inextricably linked with the wobbly walk of Jack Sparrow and adventure on the high seas. The pounding, gothic Batman theme in Christopher Nolan’s Dark Knight trilogy, for instance, instantly brings to mind the famous hero and the streets of Gotham. Unlike many contemporary scores, the German composer, self-described as “the guy who can’t help but throw a hand grenade to a room just when everything’s calmed down,” has made a specialty out of crafting cues that stick with the audience long after the credits have rolled.
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At first glance, adding a film composer to a music festival’s lineup might seem like a strange choice, but the highlight of Zimmer’s set, a medley of Pirates of the Caribbean cues, was proof that Zimmer crafted the perfect music to rage to. In 2017, Hans Zimmer took the stage at Coachella, joining the ranks Beyoncé and Lady Gaga, just as God intended. Grab your cutlass and hoist the colors: here be Polygon’s take on all things PotC. With the Pirates of the Caribbean movies more accessible than ever, and a summer season void of blockbusters, this month we’re diving deep into Disney’s swashbuckling series.