The Mandalorian and Grogu – Soundtrack Review

Ludwig Göransson delivers another delightfully western-styled chapter for the Mandalorian soundtrack franchise with his score for The Mandalorian and Grogu, and while it doesn’t offer anything particularly new bar a more cinematic-sounding orchestra – if you enjoy the show’s main theme and style as I do, you’ll probably really like this too.

If nothing else, my hope for The Mandalorian and Grogu was that we’d get to hear Ludwig Göransson’s now rather iconic main theme in full-on cinematically orchestral glory, and now that the eighty minute soundtrack album is finally out for all to enjoy, I’m happy to say that we certainly do get that here. In fact, those well known spaghetti western-styled woodwinds that echo dramatically whenever Pedro Pascal’s Mando walks on screen in the show waste no time in making themselves known in opening and eight minute cue “This Is The Way”; after doing so however the music hardens slightly, with eerie synth echoing before several alarm-like sound effects start playing alongside tense percussive thunderclaps. As this curious stylistic ensemble continues, worrisome strings also join the fray until that two-note Mandalorian arrival motif (you know the one) steps grandly into frame closely followed by a dramatic excerpt of the full Mandalorian theme. Orchestral hope then stirs warmly as Grogu’s four note theme from the show also reprises before electronic beats, anxious strings and bursts of brass then usher aggressive action back in until the end of the track. The standout “The Mandalorian and Grogu” then offers a happily lengthy main title take on Göransson’s Mandalorian theme with triumphant choir and western-style orchestra enthusiastically abound, and overall honestly it rivals the “Orchestral Version” from season one as the best version of the theme (for me personally, anyway).

With Göransson having now firmly (and enjoyably) re-established his Mandalorian sound that we all know and love, “Next Mission” cements this with a gentle strings reprisal of the main theme in its first half before a wondrous swirl of orchestra intermixes with bolder, brassier playthroughs of the theme in the second alongside ominous electronics. These hints toward a colder side of the score then come to a head in the subsequent “The Twins” as eerie vocals and low-pitched electronic murmurs establish a motif of sorts for the titular villainous Hutt Twins of the film. The enthusiastic “Shakari” however then shakes things up with upbeat electronics playing alongside orchestral interspersions of both the main and arrival Mandalorian themes, with “Hugo Durant’s Snack Shack” afterward continuing this newly lighter mood with a delightfully dance-like strings take on the main theme. Aggressively chanting vocals then crash against a similarly emphatic electric guitar through the ninety second “Rotta” (the Hutt), acting as a dramatic introduction to lengthy action setpiece “The Pit Fight” up next; a crowd chanting is actually part of the music here with frantic percussion, brassy surges and imposing drums building tension through most of the cue’s runtime until a deafeningly enthusiastic blend of orchestra and electronics thunders both the Mandalorian theme and Rotta’s material into centre stage for a triumphant finish.

Pounding drums are the stylistic focus of “Rotta Chase”, with rapid strings and flaring brassy interspersions of the Mandalorian theme also leaping along until shrill vocals drown out the action. “Tracking Lorn Janu” and “Strap In” then continue where the action left off as anxious blasts of orchestra and electronics take the forefront through for much of the duo’s runtime until the Mandalorian theme at last starts to gain the upper hand towards the end of the second track. A lusciously wondrous rendition of the Mandalorian theme then practically soars on strings in the short “Flying Home To Nevarro” before wary electronics start to seep back into the music in “Embo”, with surges of angry brass to represent the titular bounty hunter then reaching multiple malevolent crescendos across the cue. The score then returns to lighter territory in the percussively ambient first half of “We Got To Find Him”, with the Mandalorian theme switching things up in the back half for a quieter, unusually pensive rendition on serene woodwinds. This doesn’t last for long though as a tremendously enthusiastic blast of brass ushers a rejuvinated Mandalorian theme back into centre stage at the start of “The Helmet”, with fast-paced drums-heavy action then dramatically overtaking together with worrisome hints toward Grogu’s theme for much of the rest of the track.

Some rather ethereal woodwinds set a floaty, surreal tone through the tranquil “Go Kid”, with synthy electronics reprising Grogu’s theme in the back half. The lovely “Grogu’s World” then continues this quieter, more thoughtful side to the score with hopeful woodwinds, strings and plinking renditions of Grogu’s theme echoing for eight rather atmospheric minutes, before action then crashes back into centre stage for the similarly lengthy “Do We Run? Or Do We Fight?”. Frenetic electronics and flurrying strings are the focus here together with anxiously brassy interspersions of the main and arrival Mandalorian themes, with both style and theme thudding in increasingly tense harmony until an almost horror-like crescendo finally crashes out the track. Just when all hope seems lost however, none other than the Mandalorian Creed theme suddenly rides to the rescue in “All Weapons Hot” with grandiose bursts of brass and marching percussion playing proudly in centre stage together with the main Mandalorian theme. With the album overall approaching its end, a powerfully determined Mandalorian theme crashes emphatically through on brass at the start of “Red Jammer” before the music then simmers back down into strings-based serenity for its second half, with final cue “Your Turn, Grogu” then closing the chapter with one last upbeat look at both the Mando and Grogu themes together on hopeful orchestra.

Overall, Ludwig Göransson’s The Mandalorian and Grogu is an enjoyable if not fairly… safe new entry in the Mandalorian music franchise. The now well-known main theme (and its whistling arrival counterpart) naturally appear in spades, with highlights being a more cinematically orchestrated main title rendition in “The Mandalorian and Grogu” as well determinedly boisterous appearances through action setpieces like “This Is The Way”, “Rotta Chase” and “The Helmet”. Grogu’s wondrous theme from the series of course reprises too, appearing alongside Mando’s a lot while getting its own highlight in the atmospheric “Grogu’s World”. Also returning from the series is the triumphantly epic motif for the Mandalorian Creed themselves, who get a more orchestral and bombastic new rendition too (“All Weapons Hot”). Speaking of the orchestra, Göransson’s sound here sounds noticeably upgraded – likely as a result of a higher movie budget – with the instrumentation sounding bolder and fuller overall (particularly the brass). This heightens the themes of course (I’m still wrestling with either this album’s main title cue or “Orchestral Version” from the show as the definitive version of the theme), though given the seemingly higher budget I do wish Göransson had done a little more here. Bar some new though not very noticeable motifs for Rotta and Embo, this score ultimately boils down to a slightly sonically upgraded episode of the show, and while that’s genuinely great (as I love the theme), I can’t help but wish that the soundtrack for Mando’s big movie appearance had a bit more to it.

Score: 7.5/10

Standout Cues: The Mandalorian and Grogu, Rotta Chase

Buy Ludwig Göransson’s The Mandalorian and Grogu soundtrack on the Amazon UK or US store!
(note these are sponsored links!)