It was a magical week for fans of ‘Lost’ who were fortunate enough to get a ticket to the epic ‘We Have to Go Back’ concert that Michael Giacchino held at the Ford Amphitheater last week. On Thursday and Friday night he led an orchestra mainly composed of musicians who did the actual score of the show in showcasing the greatest hits from the sweeping score of the series. The first night of the concert, fittingly enough, occurred on September 22nd, which fans will remember is the anniversary of the crash of Oceanic Flight 815, which “crashed” in 2004.
Aside from the incredible music and performances by Giacchino and his orchestra, we were also treated to a Q &A session with the composer and showrunner Carlton Cuse, who spoke on their thoughts on the show over a decade after it premiered. After sharing some amusing anecdotes about the instruments chosen for the orchestra, and having some cast members come out to read pieces of the script (where we learned Damon Lindeloff and Cuse enjoyed dropping the f-bomb a lot), Cuse was asked if he had any regrets about the series, especially since so many did not understand the ending and have railed against it since its airing (to be clear, I loved the ending, and would not have changed a thing). Cuse clearly did not think there was any problem either, as his biggest regret was the introduction of Nikki and Paulo and their storyline from Season 3, though Giacchino did point out that he loved how he characters were written off the show in the ‘Expose’ episode, and Cuse admitted that even with that mistake, it still managed to contribute to the overall fun of the series.
At the end of the night, after such memorable music like ‘Locke’d Out Again,’ ‘Exodus’ and ‘Life and Death,’ with Giacchino concluding with the finale’s ‘Moving On’ track which concluded the series, there was hardly a dry eye in the house, and those of us present were reminded what a special experience ‘Lost’ truly was, and left to wonder when we will ever hear music in a television series that can live up to the heights of what Giacchino did with ‘Lost.’