Review: St. Louis Symphony Orchestra Performs “Brahms X Radiohead” With Composer/Conductor Steve Hackman

As classical music looks to connect with younger audiences, the programming offered by many of symphonies is adapting. While the classics of Mozart, Beethoven, Vivaldi, and their ilk remain standard in symphonic repertoires, the works of these masters now are nestled amongst film scores, themed concerts, and rock music.

This synthesis of rock and classical music was on display on February 24th as the St. Louis Symphony Orchestra teamed up with producer and conductor Steve Hackman for Brahms X Radiohead, a work that meshes Johannes Brahms’ Symphony No. 1 (which the SLSO will perform during the 2024/2025 season), and OK Computer, the third album from Radiohead. 

Held at the Stifel Theatre, the concert featured Hackman conducting members of the St. Louis Symphony Orchestra along with vocalists Erin Bentlage, Khalil Overton, and Rich Saunders. A master of mashing up classical pieces with contemporary music, Hackman’s creation at first seems like an overreach. However, as the evening progressed, the unification of these two works made perfect sense.

Composed in the 19th century, Brahms’ first symphony took fourteen years to complete. Feeling pressure to be the next Beethoven, the composer found himself in a creative funk. After much tinkering, his composition featured four movements, each different in texture and tone. 

Like Brahms’ symphony, Radiohead’s 1997 album is also strikingly dark. Its depiction of a dystopian future and the dangers of consumerism remain relevant today. Although experimental in nature, OK Computer’s orchestrations are like those employed by Brahms. These commonalities allowed Hackman to reach across time and blend the works seamlessly.

Opening with Radiohead’s Creep, the musicians transformed its spirit of pathos and isolation into a classical format. Vocally, the trio announced their arrival, with each singer shining for the opener. Next came the bombast of Airbag, a track whose bridge seamlessly weaved into the tapestry of the symphony.

The first movement continued the realignment with Paranoid Android, sung with great vigor by Saunders who eerily channels the vocal tonality of Thom Yorke. Climbing Up the Walls was also outstanding. Sadly, there were only snippets of Karma Police, which was sung beautifully. The sublime angst of the song fit perfectly within the framework of Brahms’ composition, creating one of the evening’s most powerful emotional moments. 

Another highlight was No Surprises, which synced perfectly with Brahms’ second movement. Here, the string section was at its most gorgeous. Erin Bentlage’s voice was outstanding.

Underscoring the density of this unusual pairing, the third movement of Brahms’ symphony started softly, gradually undulating into the melancholy of Let Down. From there, Brahms’ symphony moved into its most solemn terrain with Exit Music (For A Film) followed by Lucky, which featured Khalil Overton’s best work of the night. Bentlage’s voice provided emotional depth for the finale, Electioneering, which began with a flurry of violins that built to a crescendo.

Developed and conducted by Hackman, (who also serves as the conductor and curator of the BSO Fusion series with the Baltimore Symphony and creative director and conductor of the Indianapolis Symphony’s Uncharted series), Brahms X Radiohead is the perfect synergy of the past and present.

Collaborating sonically across centuries is not easy, yet somehow the St. Louis Symphony rose to the occasion as they, along with Hackman and his troupe, tackled the challenging task of interweaving the modern rock sounds of Radiohead with the mid-Romantic layers of Brahms’ first symphony. Together they made Brahms X Radiohead an exhilarating concert experience from start to finish.

For more info on upcoming events from the St. Louis Symphony Orchestra, visit www.slso.org.