Friday 24th October 2025

Blackburn Cathedral, Blackburn, England

Déjà vu is usually a feeling that strikes you unawares, and often in inexplicable moments. The uncanny sense that you’ve been here before, that your brain has just delivered to you vividly but without the corresponding file pulled from the vaults of memory to provide context. Sometimes it can be unsettling; other times it can be comforting. It is not known for sure why it happens, but we consider it a harmless glitch or misfire in the brain as it goes about its many plastic tasks.

As I park my car and walk towards Blackburn Cathedral in the dark, the trees along the path not yet shed for the autumn, I don’t know if there is a supplementary word to attach to déjà vu to describe what I feel now. Perhaps this feeling is what the brain is reaching for when it misfires for that uncanny sensation: a legitimate recognition, a knowingness, a familiarity as I enter and scan my ticket and a graceful usher guides me to my seat.

There is no need to do so. I know the way, though I do not tell her this. Because this is the very same concert I attended almost exactly a year ago, with an identically serene night-lit approach to the very same welcoming church, and the same almost imperceptible drizzling of rain pattering against the Anglican stone. As the usher smiles pleasantly and takes her leave, I imagine I could almost be a ghost or a mind caught within a dream, performing a perpetually renewed cycle and welcomed now back to the fold.

It is as though the never-ending note that Roger Sayer referred to when I saw him perform here last year has indeed continued to play, carrying on into an annual return. The Q&A session which marks the halfway point of tonight’s concert is shorter and less in-depth than it was for the 10th anniversary of Interstellar last year, but Roger, the organist who played on Hans Zimmer’s original score, still communicates to the crowd some of the interesting features of that music. Not least that it begins and ends on that same, never-ending note – a mark of travelling and space-faring, of thematic harmony, of eternity in an empty space.

It is this remarkable depth to the music of Interstellar which ensures its continued popularity, beyond the exquisite ingenuity of its motifs. As thrilling as it is to hear some of those well-known themes from the film from the pipes of the cathedral’s organ tonight, it is not solely for this reason that Blackburn Cathedral drew a sell-out crowd tonight. We are drawn here because, like that mysterious feeling of déjà vu, the unknowable plasticity of our brain recognises something in the music to be heard tonight. While on a conscious level we can appreciate the majesty, the harmony and the epic quality of this grand music, our subconscious brain pulls towards some deeper correlation. This recognition manifests itself as reverence, the harmony between the unknown that Christianity seeks to explain and the awesome unknown of space into which Interstellar quested. It just seems right that if you hear this music you hear it from the organ of an impressive stone church, a metallic crown of thorns hanging above the altar.

It must be this deep, almost metaphysical reverence which drew me here again tonight, because I knew in advance it would be the same music I heard last year. Indeed, my review here could do no better than repeat last year’s narration of the experience of the music (for brevity’s sake, I’ll suffice with a link instead); a repeat performance of Roger Sayer’s carefully curated suite of Interstellar music, which condenses the expansive, three-hour Hans Zimmer score down to forty minutes while still hitting all the major themes.

There are some differences between the two nights I have heard this live from Blackburn Cathedral. Some are small: the seat the usher leads me to is a premium seat near the front – I learned my lesson and booked early this time. From this vantage point the music proves more resounding, the Q&A responses clearer. Another change is that this iteration of the music of Interstellar is “under Gaia”; a vast model of the Earth hangs in the nave, replacing last year’s installation of the Moon. (During the Q&A, someone asks Roger which he prefers, and he diplomatically chooses the current installation. I preferred the Moon.)

Other changes from last year are more notable. Last year the suite of music prior to Interstellar comprised of the Strauss music best known for its use in 2001: A Space Odyssey and Gustav Holst’s ‘The Planets’, which contains motifs that later inspired John Williams for Star Wars. This time round, Roger Sayer calls a spade a spade and plays the music from science-fiction films directly. John Williams’ various Star Wars themes are prominent, and are joined by the uplifting childlike wonder of his ‘Flying Theme’ from E.T., while the night begins with the Thunderbirds theme by Barry Gray, who was born here in Blackburn and once studied at this cathedral.

The most notable piece in this opening suite is a theme composed by Johann Sebastian Bach, used centuries later as the soundtrack for the science-fiction film Solaris. This is the only piece in the opening suite which was written specifically for the organ. The rest, Roger tells us, are transcriptions; the figuration usually done by violins and now moved by him onto the various stops and keys of the organ. The difference is marked; while all the themes are performed well, the Solaris theme is a clear standout. Like Interstellar later in the night – also composed specifically for the organ – it is quite at home.

Of the music of Interstellar as it is performed tonight, I actually have little to say. Even if I hadn’t already contributed some remarks on the music in my review last year, it would be hard for me to write any further this time. One of the main reasons I write reviews of the concerts I attend is to remember the blow-by-blow of the night: how close the room felt, which songs garnered the loudest cheer, whether it rained outside. But a blow-by-blow account is impossible when the main piece is a single forty-minute movement – Hans Zimmer’s Interstellar. A return visit, one year after the first, is therefore an unprecedented opportunity for my brain to sink the groove of memory it founded last year a little deeper. And this is not a wasted event: who wouldn’t want to relive some of the best concert experiences they have had?

When we recall special days we find our brains have filed them away mostly in moments and feelings rather than in their entirety. When I think back to the astonishing Nick Cave gig I attended last year, for example, it’s not the whole night which comes to mind, nor any one particular song, but the broad swell of raw, unadulterated bliss that he and the Bad Seeds evoked. Memories of other nights are anchored in certain moments: Kassi Valazza picking the guitar notes of ‘From Newman Street’ as the bells of the Old Church at St. Pancras gently tolled outside, or 40,000 hands waving from side to side as Bruce Springsteen sang ‘Bobby Jean’ in Manchester.

My memory of the music of Interstellar at Blackburn Cathedral this time round is cemented by meeting Roger Sayer after the concert; shaking his hand, buying a copy of his music. I spoke to him briefly of my recent visit to Temple Church, where he is based. On a business trip to London, I had been able to duck out of my office on my lunch break and walk a short distance into the calm and gentle temple courtyard. Considering it’s only a stone’s throw away from the hustle and bustle of Fleet Street, the church built by the Knights Templar is remarkably silent and serene.

Another recent memory, still vivid in its every blow, is of hearing Billy Strings at the Royal Albert Hall in London just a couple of weeks ago, a place where Roger Sayer has also performed the music he plays tonight. When I was there, I had looked around at the vast dome and recalled the famous Beatles lyric about “Four thousand holes in Blackburn, Lancashire… Now they know how many holes it takes to fill the Albert Hall.” In rather cosmic symmetry, I now find myself two weeks later in Blackburn, Lancashire, listening to the sound of Interstellar erupt from four thousand holes atop the four thousand pipes of the cathedral’s Walker organ.

It is a magnificent sound, and a humbling one. The pipes are threaded into the walls, the church itself the instrument’s resonance chamber; tonight is the awesome noise of a building itself being played. Not for nothing does Roger relate during the Q&A that the organ is considered the “king of instruments”, a phrase often attributed to Mozart (who knew a thing or two about good music). While Roger deservedly takes the applause after each movement of music and greets members of the audience afterwards, he is aware that he’s not the star of the show. The vast organ itself is the star, as it rises in sound and mass and bursts with aural supernova, delivering the tailor-made music that we’ve gathered in reverence to hear.

And it’s with striking humility that Roger Sayer answers a question during tonight’s Q&A – an answer worthy of recording for posterity and therefore validating my attempt at a review. Having just performed the suite of music including Star Wars, E.T. and Solaris, Roger is asked by a member of the audience whether he does “not get sick of film music?”

The question is asked politely and honestly; Roger’s response is measured, emphasising his love for movie soundtracks, not just Interstellar. He mentions how the film received some criticism for how the music would sometimes overpower the dialogue, and reveals that this was a deliberate artistic decision on the part of Zimmer and Christopher Nolan, the film’s director. The music is there to help tell the story just as much as the dialogue is, he says, and in certain moments “music carries on when the words fail,” the swell of organ music telling the story better than any incidental line filling a gap in the screenplay ever could. Roger concludes by rhapsodising the “wonderful synergy” between music and film epitomised by the triumph of Interstellar. “Together,” he says, “they’re the most powerful thing we’ve got.”

In the cold light of day, we can still recognise the truth of that response. Think of a film without its music and you think of a bird without its wings. But in the court of the king of instruments, on the interregnum between the music, the great organ rests silently as it is said. Its own answer will come in the second set, as Roger takes his seat at the keys with his back to the audience and the king fills its vast lungs with an intake of breath and begins its reign anew.

Setlist:

  1. The Thunderbirds March (from Thunderbirds) (Barry Gray)
  2. Flying Theme (from E.T. – The Extra-Terrestrial) (John Williams)
  3. The Imperial March (from Star Wars) (Williams)
  4. Princess Leia’s Theme (from Star Wars) (Williams)
  5. March from Things to Come (from Things to Come) (Arthur Bliss)
  6. Choral Prelude (from Solaris) (Johann Sebastian Bach)
  7. The Throne Room and End Titles (from Star Wars) (Williams)
  8. Q&A and Intermission
  9. Interstellar (Hans Zimmer)

My other concert reviews can be found here.

My science-fiction writing can be found here.