Emily Marshall brought the iconic score from Demon Slayer: Kimetsu no Yaiba at the Dewan Filharmonik PETRONAS.
By Alex Low
Music has always brought people together — from Mozart’s performances in 18th-century theatres to the global stadium tours of 20th-century icons. Today, music is more accessible than ever, thanks to streaming, and audiences are exploring a wider range of genres and traditions than ever before.
Naturally, this explosion in access has led to a crossover between different art forms. One notable trend: orchestral concerts dedicated to iconic film and TV soundtracks. Whether it’s The Lord of the Rings, Star Wars, or The Godfather, cinematic scores are now taking centre stage in concert halls.
One of the most striking examples of anime’s crossover into the classical music world is Demon Slayer: Kimetsu no Yaiba In Concert — a touring symphonic experience that brings the beloved series’ epic score to life. At its heart is conductor Emily Marshall, who plays a key role in translating the emotionally charged music for live audiences around the world.
Emily Marshall.
In a recent performance with the Malaysian Philharmonic Orchestra (MPO), the concert highlighted just how powerfully anime music can resonate within prestigious classical venues. The Peak speaks with Marshall, who is also an Associate Conductor/Keyboardist of The Who, about conducting Demon Slayer, blending traditional and modern elements, and why anime concerts may represent the future of orchestral performance.
The Demon Slayer score blends classical, traditional Japanese, and rock elements. How do you balance that on stage?
What I love most is how varied the score is — traditional Japanese instruments, classical orchestration, a choir, and even a rock band with guitars, bass, and drums. Every musical cue creates a completely different soundscape.
Balancing all those elements — especially with a mix of electronic and live instruments — can be tricky. But through rehearsals and sound checks, we fine-tune the dynamic levels so everything feels cohesive. The end result really captures the spirit of Demon Slayer.
Do you have much room to interpret the music, or do you need to stick closely to the original score?
Because we sync to a click track and the music lines up with video footage, there’s not a lot of room for improvisation. But each orchestra brings something unique — their own technique and flair.
My priority is honouring what Yuki Kajiura and Go Shiina created. Even though we follow the score closely, just performing it live with an orchestra adds a whole new layer of expression.
The music reflects the show’s emotional highs and intense battles. How do you bring that out in performance?
This music takes us on a journey — from soft, delicate piano to full-throttle rock-orchestral moments. My role is to help the orchestra lean into those extremes. The sound design is also crucial — we want the audience to feel immersed without being overwhelmed.
Sometimes I find myself dancing while conducting — the music is that infectious! It definitely gets stuck in your head.
How does conducting anime or pop culture scores compare to traditional classical concerts?
The audiences are completely different — younger, passionate, and deeply connected to the material. For many, it’s their first time hearing an orchestra live, and I love that.
Because fans already know the scenes and characters, the music hits harder. The visuals add another layer too — it’s a full sensory experience, not just a concert.
Do you feel the fan energy while conducting — and does it influence your performance?
Absolutely. When the audience cheers for their favourite characters or scenes, it energises us on stage. It makes the experience feel shared — we’re all in it together.
This kind of concert is helping to redefine how people experience both anime and orchestral music. And it’s bringing a whole new generation into concert halls. That’s powerful.
Live shows are high-pressure. How do you stay focused and lead under that kind of intensity?
Live performance is exhilarating. The pressure to deliver is real — especially in tech-heavy shows like this — but that’s what keeps it exciting.
If something goes wrong (and it sometimes does), we adapt on the spot. My job is to make sure the orchestra feels supported and knows I’ve got their back. It’s a team effort, and we make magic happen together.
There are clear parallels with leadership in other industries — but here, you’re doing it in front of hundreds or thousands of people.
Do you think shows like Demon Slayer in Concert are helping young people connect with orchestral music?
Absolutely. When fans see their favourite anime brought to life like this, it changes how they perceive orchestral music. The score includes everything from shakuhachi flutes and choirs to shamisen and koto sounds — it’s not what you’d expect from a traditional concert.
We want to show that orchestras don’t have to be stuffy or old-fashioned. They can be exciting, cinematic, and cool. There’s nothing like live music — and if anime concerts are the way in, I’m all for it.
