The statement of intent for Hans Zimmer’s latest tour is crystal clear.

Hans Zimmer Live – The Next Level intends to push the boundaries of how film music can be experienced in a live setting – not as an accompaniment to cinema but as a standalone arena spectacle.

For the Oscar- and Grammy-winning film score composer, this evolution is consistent with a touring trajectory that has steadily expanded in both ambition and scale. “The biggest challenge is the status quo – you must do everything in your power to leave that behind and find and create something new,” Zimmer says on his website.

Launched in his hometown of Oberhausen on 12 October 2025, The Next Level is on track to play 50 sold-out shows across 17 European countries by April 2026, reaching more than 550,000 fans. In markets that previously hosted a single performance, multiple nights are now the norm with two-night stands at venues such as The O2 in London and Accor Arena in Paris.

Co-produced by CTS Eventim-backed Semmel Concerts Entertainment and Los Angeles-based RCI Global, the production represents a significant evolution of the Hans Zimmer Live format.

“Calling this show the ‘next level’ is accurate,” says project manager Oliver Rosenwald of Semmel. “Traditional film music concerts usually feature the film being projected while a live orchestra performs the score. This show takes a completely different approach.”

Instead of relying on film clips, the product builds its own visual language. Supported by a 19-piece band, Zimmer channels his compositions through multiple instruments, including a synthesiser identical to the one in his home studio. The show is further enhanced by a striking, multi-level architectural structure, video content produced by the UK company NorthHouse, and lighting design by John Featherstone.

The show’s setlist, meanwhile, reflects both legacy and forward momentum. It spans Zimmer’s catalogue from The Lion King to Gladiator through to Inception and The Dark Knight trilogy, while foregrounding newer material such as Dune, Dune: Part Two, and Top Gun: Maverick. Additional selections – from No Time to Die to Blade Runner 2049 (co-scored with Benjamin Wallfisch) and Prehistoric Planet – demonstrate the breadth of Zimmer’s influence across decades and formats.

But as Dieter Semmelmann, CEO of Semmel Concerts, explains, the repertoire is only part of the story. “What makes this production stand out is the way music, stage design, lighting, and visuals combine to create a new experience that exists independently from the films,” he says. “That ability of Hans to continually reinterpret and redefine his own works is key to the ongoing success of Hans Zimmer Live.”

Marketing evolution

As Hans Zimmer Live’s creativity has evolved, so too has the commercial strategy behind it. For this tour, Semmel deliberately shifted away from a decentralised marketing model toward a more coordinated, centrally managed campaign.

“Previously, local partners ran most of the marketing, and we mainly approved assets,” explains Finn Regenhold, head of international marketing at Semmel. “This time, we were much more involved – coordinating everything and running as much as possible centrally to maintain control of the campaign.”

“We wanted to make it clear that this wasn’t just Hans Zimmer Live returning”

Another key part of Semmel’s strategy for The Next Level was a tightly controlled three-week build-up to the on-sale in September 2025. “We pushed heavily on marketing to generate anticipation and FOMO so people would be ready when tickets dropped,” continues Regenhold. “We wanted to make it clear that this wasn’t just Hans Zimmer Live returning – it was a completely new production.”

That approach paid off in spades, with the vast majority of tickets sold out in a four-month window. After 48 hours, second shows were added at The O2 in London and 3Arena in Dublin. Around 25,000 tickets were sold in three days for La Défense Arena in Paris.

But the super speedy sell-outs don’t just benefit this tour, they create anticipation for the next, says Regenhold.

“When you’re doing a Hans Zimmer European tour (which later became a world tour), you want to sell out as quickly as possible to show everyone that the demand is there and that the concept can scale even further next time,” he says.

Though Semmel (which started as the local promoter for Hans Zimmer Live in Germany, Austria, and Switzerland in 2016 and has now been the international promoter for many years) has moved towards centralisation for this tour, the importance of local expertise has not diminished.

“While we want to maintain oversight of each market, local partners are key for amplifying the campaign and reaching every corner of the market,” says Regenhold. “They extend the campaign beyond what we could do centrally.”

Those local partners, many of whom have worked on previous Hans Zimmer tours, say that demand to see Hollywood’s most famous composer in a live setting is at an all-time high.

In Sweden, Božo Rašić of FKP Scorpio points to consistency: “Hans Zimmer Live is always very popular. We see strong sales right from the on-sale and then steady demand all the way up to show day. The audience is very loyal.”

In Spain, David Llorca of Sold Out highlights how the brand has matured: “The difference is noticeable. Earlier tours were successful, but we often had to explain from scratch how the show would work. Now, audiences know what to expect, and the show has become a live brand in itself.”

And Rense van Kessel of Friendly Fire, the Dutch promoter of The Next Level, says that scarcity has played an important role in driving demand: “These tours are large and ambitious but not constantly on the road, which increases their exclusivity and keeps demand high. It’s a special occasion to be in the room with an absolute legend and some of the best musicians in the world.”

Having previously promoted Zimmer tours in Asia, the US, and Down Under, Rosenwald reveals ambitions to return with The Next Level. “Promoting the tour internationally is both an honour and a challenge,” he says. “The runs in the US, Asia, and Australia were very successful, and we would love to return to those regions.”

“Now, audiences know what to expect, and the show has become a live brand in itself”

The Battle

With more than 150 personnel, 20 trucks, and 100 tons of equipment, The Next Level is as much a logistical achievement as a creative one.

“Productions of this scale are incredibly complex,” says Semmelmann. “And Europe is a complex touring environment with many territories, promoters, and venue structures. For a production like this, it takes a strong central partner to coordinate a trusted network and turn the creative vision into a seamless tour.”

Operational efficiency has also been a key focus. The production employs a rolling stage system, allowing construction to take place in parallel with rigging. Once complete, the stage is moved into position ahead of soundcheck – compressing build times and reducing venue pressure.

“Managing a production of this scale requires careful planning,” says Rosenwald. “With extensive lighting, rigging, and staging elements, timing is critical.”

One of The Next Level’s most notable strengths is its demographic reach. As Zimmer’s repertoire and client base evolve, so does his audience.

“Hans Zimmer’s music resonates with a broad audience,” says Rosenwald. “Fans of film music attend, but so do listeners who enjoy rock or electronic music. We also see a large number of younger fans.”

That pipeline of younger attendees, fuelled by newer blockbuster scores, is critical for long-term sustainability.

“Audience demand continues to grow, partly because new films like Dune attract new and younger fans,” notes Friendly Fire’s Van Kessel.

Pascal Van De Velde, of Greenhouse Talent, adds: “We have also seen the audience broaden further, with younger fans discovering this music through gaming (Call of Duty), streaming platforms, and online content. This has brought a new generation to the shows, expanding the fanbase beyond traditional film and classical music audiences.”

At the same time, nostalgia remains a powerful entry point. “Initially, audiences may come because of nostalgia – there is a reason people cry during The Lion King,” says Regenhold. “But the show has evolved far beyond that. People now attend because they know it will be one of the most impressive live experiences they’ll see that year – maybe even that decade.”

Within the broader film music concert sector, this high production value and enduring appeal are significant.

The unique proposition of Hans Zimmer Live and The World of Hans Zimmer positions them in a distinct market space. They are not tied to a single franchise or reliant on film playback. Instead, they operate as artist-led arena productions, closer in structure to global touring acts than traditional film concerts.

“Zimmer consistently sets new standards for live film music performances,” Rosenwald concludes. “Other productions may attempt to follow similar concepts, but he continually evolves the format and stays ahead creatively.”