Hans Zimmer’s epic scores have transcended borders, but as the Oscar-winning composer prepares to bring his live show across North America, he knows which side he’s on. “If this was a soccer match, I’d be rooting for Canada,” Zimmer says. The German-born maestro, who will hit several Canadian cities next year as part of his recently announced The Next Level tour, says he has a deep affection for the country and its culture — and he’s not hiding that sentiment as Canada and the United States navigate a crescendoing trade war. “There’s so much right about Canada,” Zimmer says in an interview from his Los Angeles studio. “It’s such a wonderful cultural place. It’s always a joke about how nice Canadians are, but you know something? It’s the truth!” He later adds: “Especially at this moment in time, I am so on your side.” Zimmer, 69, notes he’s conscious of what he says because political comments can be tricky these days. “I got into trouble before because I’ve said some maybe not quite flattering things about the American president and, you know, his bunch of hooligans that he seems to call his whatever, his government.” Zimmer made headlines in April after pausing his concert in Sweden to deliver an expletive-laden critique of U.S. President Donald Trump, calling the current global political climate a “catastrophe.” But the man who’s won Academy Awards for scoring “The Lion King” and Quebec director Denis Villeneuve’s “Dune” says music offers an escape from the divisions playing out beyond the concert hall. His 19-piece band includes musicians from around the world, and Zimmer says he loves the way they can come together onstage despite coming from different countries and backgrounds. “I’m not liking the world at the moment,” he says. “But I like what we get to do, because we get to connect with people and people get to connect with each other. “For just the three hours that we play, things seem to be OK. The world seems to be all right.” The tour kicks off Feb. 17 in Hartford, Conn., with stops in Ottawa, Quebec, Hamilton and Vancouver. Zimmer and his band perform his blockbuster repertoire — which includes the iconic scores of “Inception,” “Gladiator and “Pirates of the Caribbean” — reimagined as a high-energy rock concert with the composer himself on keyboards and guitar. “Music moves freely across borders even when other things can’t,” he says. “Let’s go dance, let’s have a good time, let us hug each other for a second at least.” His connection to Canada is also personal through his longtime creative partnership with Villeneuve. Zimmer has scored both of Villeneuve’s “Dune” films and is currently working on the third, in addition to his work on “Blade Runner 2049,” and says their relationship works because of the director’s unusual combination of artistic vision and kindness. “It’s him, it’s not me,” Zimmer says when asked what makes their collaborations click. “Denis leads with a genuine love, with a genuine kindness, with a genuine respect. He protects you all the time.” The pair are now working on the third instalment of the “Dune” saga, and Zimmer says Villeneuve encouraged him to approach the film as something distinct rather than simply extending the musical language of the first two movies. “Denis said to me, ‘Let’s just treat this as an autonomous film. Let’s just do something completely different,’” Zimmer says. He’s keeping details of the new score close to the vest, though. “I want people to discover it,” he says. Zimmer says he initially panicked when he began work on the new film because he had no idea what he wanted the score to sound like. Even after decades of composing some of Hollywood’s most recognizable music, he says that uncertainty never really disappears. “I had a thought an hour ago — there was a track that I still had to write for this ‘Dune’ and I sent it over to Denis and I was so nervous,” Zimmer says. “‘Will he like it, will he not like it?’” Villeneuve eventually called to tell him he did indeed like it. “So, you know, I’m fine,” Zimmer smiles. He posits that jitteriness may actually be essential to the creative process. “That fear is always there, because you’re supposed to do something new,” he says. “And if you do something new, you don’t know if people will like it.” That willingness to experiment is all over “Dune,” where Zimmer says he and Villeneuve can approach the material with the enthusiasm of adolescents while having decades of experience to execute their ideas. “Somehow in our hearts, or whatever you want to call it, in our imagination, we can go back to being teenagers as we’re working on it, except we’ve done a few movies so we have the craft to actually do the things that are in our head,” he says. “That’s a huge advantage.” This report by The Canadian Press was first published Oct. 2, 2026. Alex Nino Gheciu, The Canadian Press
