Child Harpoon is a multi-award-winning songwriter and producer who’s helped craft indelible hits for Harry Kinds (he’s throughout Harry’s Home), Miley Cyrus (‘Flowers’), Florence and the Machine (‘Shake It Out’) – and, coming quickly, Who Is the Sky?, the good new album from David Byrne. With Kinds’ 2022 mega-hit ‘As It Was’, adopted by Cyrus’ ‘Flowers’ in 2023, the Child genius had the consecutive best-selling singles of the yr.
This autumn, the LA-residing Brit previously referred to as Tom Hull – who launched a brace of high-quality EPs and an LP within the early noughties – returns to the day job. Nicely, a model of it. The 43-year-old from Kent has composed the music for the brand new, all-star Broadway revival of Yasmina Reza’s play Artwork. Enjoying the elements of the three art-botherers analysing the price of an eye-wateringly expensive portray are display and stage heavyweights Bobby Cannavale, James Corden and Neil Patrick Harris.
Whereas juggling the onrushing deadline to finish the music forward of the opening of this primary New York manufacturing since Artwork’s 1998 premiere on Broadway, Hull answered some questions concerning the fee. He admitted he hadn’t seen the play earlier than, however did artfully duck my enquiries about whether or not he’s on Florence’s upcoming album.
Additionally not forthcoming: the tea on what he and Kinds had been as much as once they had been noticed in Berlin this spring. Hey ho, Hazza’s fourth album is one other sort of super-valuable artwork whose provenance ought to in all probability be stored secret for a bit longer.
In dialog with Child Harpoon (Tom Hull) on his rating for Broadway
Child Harpoon, left, with Artwork forged members Neil Patrick Harris, Bobby Cannavale and James Cordon, plus director Scott Ellis
(Picture credit score: Courtesy of ART)
Wallpaper*: Curtains up, Tom… What type does your music for Artwork take? Brief, particular person items for particular scenes? Extra of an general rating? One thing else?
Child Harpoon: Sure, quick items in between and underscoring scenes. We noticed it as an actual alternative to set a tone for the play throughout these moments.
W*: How did you get this gig?
KH: James [Corden] is an effective good friend, and we’ve had earlier conversations about how I’d been considering composing for movie or theatre. He known as me and requested how I felt about creating music for this explicit play. As quickly as I learn the script, it was a no brainer. It’s an excellent play.
‘Coming from a spot the place vocals often should be entrance and centre, [this] was tremendous thrilling to me’
Child Harpoon
W*: What appealed, typically, about composing for a Broadway present?
KH: The context of music on this setting is so completely different to what I’ve been doing for many of my profession. I’ve been used to creating music that has to seize your consideration and produce you into an expertise. Whereas this music is designed to reinforce an already present expertise and assist the general aesthetic of the present.
W*: What appealed, particularly, about composing for Artwork?
KH: Firstly, the play itself. It’s merely beautiful. Secondly, [director] Scott Ellis was fairly particular that there ought to be no vocals within the music, as it’s meant to assist or distinction the dialogue within the scenes. Coming from a spot the place vocals often should be entrance and centre, that was tremendous thrilling to me.
W*:What sort of music have earlier productions of Artwork had?
KH: I don’t know actually, and having learn the script with no prior information, I needed to provide you with one thing that represented the way it felt to me. Additionally, there hasn’t been a Broadway manufacturing for quite a few years, so I needed to reap the benefits of this second and produce it into the twenty first century.
W*: What temporary, if any, did you obtain, and from whom?
KH: I had conversations with Scott after which got here up with a little bit of music that felt right to me. That grew to become the touchstone of the entire palette. It felt actually natural. They launched a part of that music as a teaser on the Artwork Instagram.
W*: What sort of collaborator is Scott?
KH: He’s a implausible particular person and the sort of collaborator that offers you freedom to comply with your individual visions whereas steering you in the direction of what he’s additionally capturing for. I felt like I may actually go for what I needed, with out being constrained in any way. I couldn’t have dreamt of a greater particular person to work with on my first Broadway present.
W*: By way of supplying you with a place to begin, how helpful was studying the script?
KH: It was so helpful. It’s an unimaginable play, and really inspiring. It made me really feel quite a lot of feelings and I immediately had a ton of concepts. One in all which was creating moods for all three of the characters. It was actually enjoyable leaning into these. In rehearsals I felt I may considerably relate to the actors in how arduous the nuances of getting these characters right was.
W*: Had been every other items of music for theatre – or scores for movie – an inspiration?
KH: Not particularly, however I’ve all the time cherished very synthesised movie scores and the way they create this distinctive temper. Blade Runner, for instance, creates a whole universe with its soundtrack. The Tron soundtrack that Daft Punk did was unimaginable. Very completely different tasks, however I actually needed to provide that aesthetic to it.
‘With three robust personalities within the play, I attempted to have a mix of three issues: guitars, pianos and synthesisers, [with] every representing a persona’
Child Harpoon
W*: After your preliminary talks with James, did converse to the actors as you composed?
KH: Sure. I had [those] conversations with James beforehand, and met Neil and Bobby in rehearsal. It gave me an opportunity to attach with them and talk about points of their characters I’d been exploring – and naturally, play them music. They’re all sensational actors, and I hope what I’ve carried out solely enhances their craft. I’m blown away by how proficient they’re.
W*: Did you discuss to Yasmina Reza?
KH: I didn’t. I might completely love to satisfy her. That is a unprecedented play, and I’m so honoured to get to be part of it. I hope she likes the music!
W*: We’ve solely heard a snippet, so does the music general sound like?
KH: With three robust personalities within the play, I attempted to have a mix of three issues: guitars, pianos and synthesisers, [with] every representing a persona. Then, the thought was to make use of fascinating and inventive results processing, like delays and reverbs, to deliver these extra natural devices into that extra artificial world. Hopefully that offers us some feeling that we’re suspended in time watching these three individuals work out their dynamics, and relating it to our personal experiences.
W*: With apologies for the broad, saggy query, how was it engaged on Who Is the Sky? with David Byrne?
KH: It was unimaginable. David has been an inspiration to me my complete life, so to be part of his world was a dream come true. I additionally suppose it opened my eyes to how rather more I’ve but to discover with music. He’s a grasp of placing his creativity to completely different makes use of. It set me up completely to work on Artwork.
Artwork begins previews this week at Broadway’s Music Field Theatre. Opening evening is 16 September and the play runs till 21 December 2025. Tickets right here
Supply: Wallpaper
