Stellar Soundtracks: The Mandalorian
The music of Star Wars is iconic. From the bold opening notes of the main theme as the synopsis scrolls the screen to the foreboding “Imperial March,” John Williams created a score that is instantly recognizable, even to those who haven’t watched a single film in the franchise.
The Mandalorian has been entertaining fans on Disney+ for two seasons now with the appearance of Baby Yoda — I mean, Grogu — and his unwitting bounty-hunter daddy. And while ties to the larger franchise, interesting revelations, exciting character appearances, and, of course, watching the child chase after all sorts of unsuitable snacks have all been a delight, the series also excels in its score.
Ludwig Göransson is the musician behind it, and he’s managed to create some of the best music in the series — and he has an Emmy for his work in the show’s first season. For Star Wars fans, there’s nothing like hearing the opening notes of the theme as the titles begin, and the notes of The Mandalorian’s theme playing as we see the title card in each episode evoke those same feelings of excitement. The theme’s pairing with episode artwork over the end credits is also a delight, and making someone want to stick around for the credits is a rare feat.
“[T]he romantic strains of John Williams’ score would not sit well against the imagery that we have,” executive producer Jon Favreau told Variety. And indeed, Göransson’s work functions in the background to subtly underscore the action and drama, and he presents a main theme with the feel of a Western with darker tones that signal we’re in a different universe — or, uh, different story in the galaxy.
Göransson, of course, understands how huge Williams’ original score is, and rather than try to replicate it, he went in a different direction. Speaking to the Los Angeles Times, he said, “The way I approached it was to try something completely different. The loneliness of a single solo flute. The bass recorder became the sound of the Mandalorian. That’s how I started. … I wanted the core soul to be organic. Then I wanted to add a tech sound to it. And I also wanted to add on a cinematic orchestra, which makes it feel like Star Wars.”
And yet, the best musical moments in The Mandalorian came in the season two finale, “The Rescue,” when Göransson and Williams’ music worked together in the series’ most exciting moment.
As the action builds and a mysterious X-Wing approaches, Göransson’s score notes the suspense and hope, both building in intensity — especially as it becomes clear just who was on that X-Wing. As he removes his hood and reveals himself as, yep, Luke Skywalker, Göransson’s music gives way to Williams’ Skywalker theme in a perfect blending of the classic and new, hearkening back to the original trilogy. We not only see Luke, but we hear the music he’s so associated with.
“When Luke takes his hood off we all wanted people at home to stand up on their feet and feel this power,” Göransson told Insider. “It was an obvious choice to put it in there at that moment.”
The music builds as Luke beckons for Baby Yoda — I mean, Grogu — then shifts back to Göransson’s music, this time soft and sweet, punctuating the emotion as Grogu and Din Djarin prepare to part ways. The score builds once again as Luke and Grogu depart, Djarin watching tearfully, and ends as the screen goes black. Those final few minutes are the best of the show not only in terms of story, but also musically.
From the moment those first airy notes played in the series premiere, the score of The Mandalorian has been evocative, haunting, and darkly beautiful, making the Disney+ hit all the more enjoyable. While Williams’ original score will always be remembered by fans and his name will always be among the most important in the Star Wars universe, Göransson is poised to be right there with him.
