Brandon Roberts sits in what he calls his “magic laboratory,” a space where he spends “way too much time” weaving sonic worlds. On a warm Dallas morning, Roberts joined AMFM Magazine’s Paul Salfen to reflect on his Emmy-nominated score for the second season of Andor, the critically acclaimed Star Wars series that chronicles the gritty rise of the Rebel Alliance. For Roberts, an American composer with a Creative Arts Emmy already under his belt for Free Solo (2018), stepping into the galaxy far, far away was both a childhood dream realized and a daunting creative challenge.
“It’s a life highlight, a professional highlight,” Roberts told Salfen, his voice tinged with awe. “But it was also very daunting, given the musical history.” That history—rooted in John Williams’ iconic Star Wars scores—cast a long shadow. Roberts, who took over scoring duties from Nicholas Britell for Andor’s second season, had to navigate the expectations of fans while honoring the show’s distinct tone. “I had maybe 24 hours of utter and total fear,” he admitted with a laugh. But conversations with showrunner Tony Gilroy calmed his nerves. “They said, ‘It’s going to be alright.’ And then you jump into the work, and it’s just about scoring the scenes.”
The challenge was immense: Andor’s second season, which earned 14 Emmy nominations, including Outstanding Drama Series, demanded a score that bridged Britell’s modern, evocative palette from Season 1 with the orchestral grandeur of Rogue One and A New Hope. Roberts, a longtime collaborator with composer Marco Beltrami on projects like The Twilight Zone and Unbroken: Path to Redemption, approached the task with a mix of reverence and innovation. “You’re navigating a creative minefield,” he said, describing the balance of paying homage to Britell’s work while infusing his own voice. “Where do I bring in a Season 1 theme? Where do I score this differently? It’s scene-by-scene discussions with Tony and the team.”
For Roberts, music has always been about immersion. Growing up, John Williams’ The Empire Strikes Back score was a revelation. “It lit a fire under my butt,” he recalled. “I listened to it away from the picture and was so moved by it.” That sense of being transported—whether by Williams’ sweeping orchestras, Thomas Newman’s emotive minimalism, or Ennio Morricone’s timeless melodies—drove Roberts to a career in film scoring. “A good score, whether it’s jazz, orchestral, or Trent Reznor, pulls you into the scene with five notes,” he said. His work on Andor does just that, weaving themes for new planets like Yavin 4 and Niamos, and a heart-pounding TIE fighter chase that had the “eight-year-old boy in me playing with Star Wars toys.”
The Andor score, nominated for a 2025 Primetime Emmy for Outstanding Music Composition for a Series, is a testament to Roberts’ ability to balance legacy with originality. Gilroy’s vision was clear: the music needed to evolve with Cassian Andor’s transformation from petty thief to rebel hero, culminating in the events leading to Rogue One. Roberts watched all 12 episodes before composing, treating the series as “one giant, incredible two-year movie.” His themes for Yavin 4 and the TIE fighter sequence stand out as personal triumphs. “I’m scoring a legit TIE fighter chase,” he marveled, still sounding like that kid with a toy X-wing. “It’s a pinch-me moment.”
Roberts’ journey to this galactic stage wasn’t overnight. A former jazz guitarist, he learned early to “copy the masters” to absorb their craft through osmosis. “Analyze your favorite scores,” he advised aspiring composers. “If it’s Hans Zimmer’s Dune, try to copy the cue, the sound. You’ll dine at the Humility Cafe.” He also stressed the importance of relationships, recounting how his work with Beltrami on World War Z years ago led to a recommendation from John Swihart for Andor. “It’s luck, relationships, and experience,” he said. “You have to be ready for your Hail Mary moment.”
That moment came with Andor, a project that tested his resilience and creativity. Despite battling imposter syndrome—“I’m really bad at being hard on myself,” he confessed—Roberts stays grounded by focusing on the process and treating others with respect. “This industry is smaller than you think,” he noted. “How you treat people matters.” His pride in the Andor score shines through, particularly in the Yavin theme and the TIE fighter chase, moments where he felt he was living out a childhood fantasy.
As he looks ahead, Roberts is already working on new projects, including another collaboration with Eli Roth. “It’s going to be a fun year and a half,” he teased. For now, though, the Andor score remains a career pinnacle, a galactic symphony that resonates with fans and Emmy voters alike. “We’re so proud you made your childhood dream come true,” Salfen told him. Roberts, ever humble, simply thanked the team that brought him into the Star Wars universe, his voice carrying the weight of a composer who knows he’s part of something bigger than himself.
Stream Andor Season 2 on Disney+ and follow Brandon Roberts’ work as he continues to shape the sound of cinema.
