There are a few basic questions you need to know of a person in life.

What’s your favorite color? How about your favorite band? For the nerds, it may be your Hogwarts House, or if you’re a Hobbit or Elf.

For the happy medium between these two realms, there is only one: Who should have the Iron Throne? Lannister or Stark? And if you support Walder Frey, should you be dunked in hot oil? HBO’s “Game of Thrones” series has become beyond a pop culture phenomenon, taking on a life of its own not just due to George R.R. Martin’s incredible book series that the TV incarnation is based upon, but the range that is invited onto the show.

HBO’s “Game of Thrones” series has become beyond a pop culture phenomenon, taking on a life of it’s own not just due to George R.R. Martin’s incredible book series that the TV incarnation is based upon, but the range that is invited onto the show.

There is romance, drama, betrayal; happiness, triumph, rebellion, and Shakespearean duels of both words and physical swords.

There is incredible acting, which gives the words on the page the shivers and excitement that the author intended.And of course, there is the underrated cherry on top of this all.

And of course, there is the underrated cherry on top of this all, or the dragonfire: the music that drives it.There is no disputing that composer,

There is no disputing that composer, Ramim Djawadi, is quickly rising faster than Cersei’s Lannister’s ambitions in the musical world.Not just due to his unique creativity, but his experimentation with the instrumentation, and instruments themselves.

Not just due to his unique creativity, but his experimentation with the instrumentation, and instruments themselves.From Game of Thrones to equally captivating “Westworld”, where Djawadi’s older piano covers of 20th and 21st-century songs, from Amy Winehouse’s “Back to Black”, to The Animal’s “House of the Rising Sun” aren’t just mesmerizing but important to the narrative. It’s a hard marriage to create, ones that

From Game of Thrones to equally captivating “Westworld”, where Djawadi’s older piano covers of 20th and 21st-century songs, from Amy Winehouse’s “Back to Black”, to The Animal’s “House of the Rising Sun” aren’t just mesmerizing but important to the narrative.It’s a hard marriage to create, ones that

It’s a hard marriage to create, ones that composes such as Vangelis with Lynch, and Williams to Lucas along with a few others have only ever been able to accomplish.And perhaps it is this classic and rare marriage that makes the pairing so uniquely refreshing, and alluring. Almost as alluring as the Throne itself, but we’re getting too far ahead of ourselves.

And perhaps it is this classic and rare marriage that makes the pairing so uniquely refreshing, and alluring. Almost as alluring as the Throne itself, but we’re getting too far ahead of ourselves. This musical review is a unique one as the concert itself, as it oddly contains spoilers for the series. So if you haven’t yet seen the series, or if you haven’t had a chance to watch Season 6, I would advise turning back now, there will be no repercussions or Mountains to kick you down later.

This musical review is a unique one as the concert itself, as it oddly contains spoilers for the series. So if you haven’t yet seen the series, or if you haven’t had a chance to watch Season 6, I would advise turning back now, there will be no repercussions or Mountains to kick you down later.

And with that warning, it is into Westeros we go. It is to be said that the BB&T Center was a perfect venue for the experience; big enough to house the aspirations of the show, but not so large enough that it feels distanced as an arena sized venue may.

The three circled stage, with two twin screens for both sides and a circular one over both the orchestra and its opposite end, is a daunting structure with the lights on, as the show’s emblem displays on screen. A sneak peek of just how grand the scale, and ambitious a production it was debuted on the concert’s official Facebook page was shared via a live post, though even then the production was unbelievable through a 6″ to 12″ screen. Seeing it in person, it truly is a kingdom and wonder unto itself and one befitting of both the series and experience.

As the lights dimmed, Cersei Lannister’s voice came over the loudspeakers in the dark, threatening that those who did not silence their cell phones would “be boiled alive in the blood of the children”, in typical Lannister fashion, of course. The laughter died down to a Tibetan singing bowl like chime, as a white dove graced itself from the center screens onto the circular, storm clouds and sword clashes in a violent wind, as the Iron Throne itself rose from a hole in the opposite end of the podiums, spinning through a fog and introducing the object itself that started this whole series.

Fitting enough, the concert began with its infamous opening credits sequence and music, the map filling the screens.

From there, the concert continued to run through of each House, their trials, failures, successes; heroes, villains and downfalls, backed by the incredible orchestra that, as Djawadi stated later into the show, was a local Floridian orchestra that did justice to not only their home, but the entire experience, performing with a perfection and harmony under Djawadi’s lead that was truly marvelous.
Amidst the synchrony of the group and their musicians, was how the show as a whole was conducted.

Beyond the kindness of the run through was the premise behind it, which followed throughout.
That as much a treat as it was for the fans of the show, it was not exclusive to them. Unlike over stage shows which may try to rival by showing moments or highlights which would only make sense if you were a fan from the start, the concert made the effort to include all into it.
If you didn’t know Daenerys Targaryen’s story, or how she became Queen of the Dragons, here it was: started from being Khal Drogo’s wife to her, quite literal, rise from the ashes and freeing the slaves to become not just a Queen, but a God.
Unfamiliar with why the hell everyone hates Walder Frey? Ramin & company played the YouTube reaction gem, and “What the Direwolf” event that was The Red Wedding, backed in breathless effort by the local orchestra, and the collective held breath of the crowd as the Stark’s last stand was done under Frey’s cruelty.

This wasn’t to say it was so open as to exclude those delicious fan moments, such as Arya Stark’s unofficial theme, “Needle”, played on hammer dulcimer beautifully by Djawadi as scenes of the littlest Stark’s warrior, and ultimately, avenger of her familial line, graced the screen. It is in this moment that it’s important to draw attention to Djawadi’s unique use of instruments, such as the Wildling Horn mentioned by the composer played by Pedro Eustace, who held his own beautifully with not just woodwind instruments, but the more eclectic instruments

With so many levels of depth to appreciate, one would be in the always sadly underappreciated editing department, where the difficult selection of just exactly which scenes to perform as the series has so very many of them.
Satisfying to see on stage was the fight waited of 6 seasons, the finite “Battle of the Bastards” between Jon Snow and Ramsay Bolton, as well as the Boy Who Should Have Zigged-Zagged, Rickon Stark.
One of the many aspects of this experience is not just seeing them play out, but backed live, the drama and meaning behind them all, given over to an entirely new level.The power of the Floridian orchestra was a force to be reckoned with, but this isn’t to play, or tone down the mastery of the tour’s key players. From the amazing trio of percussionists, to cellist Cameron Stone who was a figure throughout the show, playing as both performer at one point covered in a veil that came down from the circular screen and musician without a beat missed.

The power of the Floridian orchestra was a force to be reckoned with, but this isn’t to play, or tone down the mastery of the tour’s key players. From the amazing trio of percussionists, to cellist Cameron Stone who was a figure throughout the show, playing as both performer at one point covered in a veil that came down from the circular screen and musician without a beat missed.
Alexander was equally humbling to view, with a range that reached the insanely difficult baritone of “Rains of Castamere” to the triumph of Daenerys’ freeing of the slaves, which was heightened to Gladiator type levels.

Amidst the celebration of the show, from fan to new watcher alike, was yet another layer in the endless mastery to appreciate, which was the production.

If you are a technical junkie who enjoys shows that aren’t just big in sound, but in their visuals, there isn’t a better show in the galaxy right now to see. Not only did there have to be accurate timing from the orchestra and it’s incredible players, which included Pedro Eustace who played woodwinds and the exotic instruments used, but also from the stage hands, crews and directors, who executed the timing with a finesse that should be rewarded. From Alexander being bathed in flower petals, to snow falling on Stone with what you could swear to be an actual chill from the Night King during the performance of the Whitewalkers theme.Even down to VFX work, the stage pulsating a fiery red with the story of the Red Lady, as the circular rotation showed the secret of her “eternal beauty”.

Even down to VFX work, the stage pulsating a fiery red with the story of the Red Lady, as the circular rotation showed the secret of her “eternal beauty”.

One of the standout moments of this work was Daenerys’ standoff with Myreen, as flamethrowers worked hard to synchronize with the flames of the dragons on screen, as well as the theme of the High Sparrows, where a Gregorian clothed choir made their way around the circles, an iron form of the insignia hanging high above the orchestra’s heads as stage lights cast it’s shadow onto both audience and stage.

But perhaps the greatest moment was fittingly saved for last, in the most grand finale to have been seen in quite a long time: “The Light of the Seven”.The score itself, played majorly on pipe organ and strings, is highlighted by the unequaled power of a children’s choir that is left with the daunting task of narrating the culmination of 6 seasons worth of equal anticipation and dread.

The score itself played majorly on the pipe organ and strings, is highlighted by the unequaled power of a children’s choir that is left with the daunting task of narrating the culmination of 6 seasons worth of equal anticipation and dread.It is the time evil has won, in the promise that good will come, the final act of a desperate and selfish Queen.

It is the time evil has won, in the promise that good will come, the final act of a desperate and selfish Queen.
The intricacy of the plan is to be matched by an equally cinematic and simple score that once again, only Djawadi could have accomplished.With the Sparrow’s insignia once again hanging above stage, oculus style projection magnification onto the screens and cathedral windows gracing the circular screens, the seminal composer and maestro played a pipe organ which rose out of the opposite end of the orchestra, everything slowly stitching itself together like the perfect storm.

With the Sparrow’s insignia once again hanging above the stage, an oculus style projection magnification onto the screens and cathedral windows gracing the circular screens, the seminal composer and maestro played the pipe organ which rose out of the opposite end of the orchestra, everything slowly stitching itself together like the perfect storm.There are moments that stay with you as a listener, and the piece is certainly one of them, encapsulating every complicated emotion of the scene. From justice, to fear; realization, betrayal and the final fiery blow, with green colored fire synched to the wildfire destruction of Kings Landing.

There are moments that stay with you as a listener, and the piece is certainly one of them, encapsulating every complicated emotion of the scene. From justice, to fear; realization, betrayal and the final fiery blow, with green colored fire synched to the wildfire destruction of Kings Landing.

And on that incredible note, played out the remaining finale of Season 6, with the inevitable war approaching, and the storytellers for this night coming to an end with it.Reaching an incredibly well-deserved standing ovation for the performance, Djawadi and the orchestra left the stage, leaving the key musician to perform one last song, highlighting the often missed humorous nature of the show and it’s fans.

Reaching an incredibly well-deserved standing ovation for the performance, Djawadi and the orchestra left the stage, leaving the key musician to perform one last song, highlighting the often missed humorous nature of the show and its fans.For their last act, “The Bear and The Maiden Fair” as ab In Memoriam played above screen, showing every series death, amazingly all fit into a 3 minute piece and met with participatory cheers and jeers, ranging from (archer who loved Snow) who was showed in show, to the Viper, and of course, Walder Frey.

For their last act, “The Bear and The Maiden Fair” as ab In Memoriam played above screen, showing every series death, amazingly all fit into a 3 minute piece and met with participatory cheers and jeers, ranging from (archer who loved Snow) who was showed in show, to the Viper, and of course, Walder Frey.

As the incredible musicians took their final bow, and the lights come on, the house PA resumed playing Tears For Fears “Everybody Wants To Rule The World”. Whether this was a joke from the audio techs or just a heavenly touch for the night, it was as perfect as the performance itself.All in all, the Game of Thrones Concert Experience may very well be the best “experience” out there now, or ever, and it will take a Mad King to top it. It is a concert unlike any other, and whether you’re a fan, admirer or passerby, I highly recommend seeing the show, not just once but if you can, multiple times.

All in all, the Game of Thrones Concert Experience may very well be the best “experience” out there now, or ever, and it will take a Mad King to top it. It is a concert unlike any other, and whether you’re a fan, admirer or passerby, I highly recommend seeing the show, not just once but if you can, multiple times.The craftsmanship of each contributor in the show is one I have yet to see elsewhere, and it is

The craftsmanship of each contributor in the show is one I have yet to see elsewhere, and it is this perfection that the concert rules above all.

So yes, “Everybody Wants To Rule The World”, from queens to bastards. But there can be only one ruler.In the meantime, until July, Djawadi and Company are sitting on it. And what a glorious reign it is.

In the meantime, until July, Djawadi and Company are sitting on it. And what a glorious reign it is.