The Witcher in Concert

A score, not a band

The act on the ticket is not a group with a discography. The Witcher in Concert is a touring production built around the music of The Witcher 3: Wild Hunt, the open-world role-playing game CD Projekt Red released in May 2015. The score's lead composer is Marcin Przybyłowicz, born on 4 May 1985, a Polish composer and sound designer who had already worked on The Witcher 2 before taking the third game, went on to co-write Cyberpunk 2077 with P.T. Adamczyk and Paul Leonard-Morgan, and later contributed to Resident Evil Village. His work is characterised by folk instrumentation pushed into an interactive score rather than an orchestral wash laid over it.

The other name that matters is Percival Schuttenbach, the Polish folk band credited as co-composers on the game. Their playing is the reason the Wild Hunt soundtrack sounds like a specific part of Europe rather than like generic fantasy scoring, and it is the reason the concert cannot simply hand the parts to a hired symphony orchestra and call the job done. Members of the band travel with the show.

CD Projekt Red announced the concert series on 17 December 2024, framed around the game's tenth anniversary. The initial plan set out in that announcement was modest by the standards of what followed: first concerts in Poland and in Boston in May 2025, a European run later in the year, then North America.

The 2025 rollout

Ticketing began early. A newsletter pre-sale opened on 5 March 2025, with general sale on 7 March, covering a date at the Emerson Colonial Theatre in Boston on 31 May and an appearance at the Pyrkon convention in Poznań on 15 June. The production is run with GEA Live and RoadCo Entertainment, two companies working in location-based live entertainment across more than 40 countries, which explains how a single show scaled as quickly as it did.

The world tour proper opened on 20 August 2025 at gamescom in Cologne. The United States leg began on 2 September 2025 and was announced as 46 cities across 29 states, from Massachusetts and New York to Washington, California and Arizona — a routing closer to a touring theatre production than to a concert-hall residency. Polish dates followed at the end of October and start of November 2025, taking in Warsaw, Katowice and Łódź, and the first Asian shows ran at the Sands Theatre, Marina Bay Sands in Singapore on 29 and 30 November 2025.

CD Projekt Red's own account of that year is blunt about demand: tickets for the 2025 European tour sold out shortly after being announced, which is the stated reason the 2026 routing was widened.

What is actually on stage

The performing body is an ensemble of 14 musicians, hand-picked by Przybyłowicz and including selected members of Percival Schuttenbach. The arrangements were written for this format under Przybyłowicz's supervision rather than lifted from the game's stems, and the visual layer behind the players was prepared by a team at CD Projekt Red using cinematics and gameplay footage, cut and filtered for the stage.

The programme is chronological rather than a greatest-hits shuffle. It follows the game's story from the Killing Monsters cinematic through the main campaign and on into both expansions, Hearts of Stone and Blood and Wine, with the official listing describing a run from "The Trail" through to "...Steel for Humans". Because the show includes scenes from the game's ending, the production carries a 16-plus recommendation — an unusual advisory for a classical listing, and a fair warning to anyone still working through the game.

There is no support act. Percival Schuttenbach are billed as special guests but appear inside the ensemble rather than before it. On the North American leg the finale carried a look at the reveal trailer for The Witcher IV, folding a marketing beat into the closing minutes.

Where it stands in autumn 2026

The show has kept moving through 2026. An Asian run took in Manila's Solaire Theatre on 28 and 29 March 2026, alongside announced dates in Seoul and Shanghai, extending a tour that was originally pitched as European with an American follow-up.

The second European tour was announced in November 2025, with a community pre-sale on 19 and 20 November and general sale from 10am CET on Friday 21 November. It runs to 30 concerts in 16 countries across October and November 2026. Eight of those countries are new to the production — Czechia, Hungary, Ireland, Italy, Luxembourg, Scotland, Slovakia and Switzerland — with Austria, Belgium, England, France, Germany, the Netherlands, Poland and Sweden returning.

The run opens with two nights at Vicar Street in Dublin on 21 and 22 October 2026, then moves through the UK: the O2 Apollo in Manchester on 24 October, York Barbican on the 25th, Glasgow Royal Concert Hall on the 26th, Liverpool Philharmonic on the 27th, The Halls in Wolverhampton on the 28th, the Eventim Apollo in Hammersmith on the 29th and Bristol Beacon on the 30th. Stockholm's Annexet follows on 2 November, and the mainland leg takes in Berlin, Gdańsk, Kraków, Budapest, Prague's O2 universum, Nuremberg, Bratislava, Vienna, Paris, Ghent, Eindhoven, Düsseldorf, Lyon, Frankfurt, Luxembourg, Zurich, Milan, Rotterdam and Groningen.

The venue choices are worth reading carefully. In Britain and Ireland this is a concert-hall and mid-size-theatre tour — Vicar Street, York Barbican, Bristol Beacon — while Prague and Stockholm put it into arena-adjacent rooms. Tickets for the London date were listed from £49.20 before booking fees, with front-row upper circle seats at around £75.

The room on the night

The format is straightforward and the production does not pretend otherwise: the ensemble sits downstage of a large screen that carries the visual half of the evening. The running time is just under two hours including a short interval, which makes it shorter than a typical game-music gala and considerably tighter in structure, since the narrative order does the sequencing work that a compère would otherwise have to do.

A write-up of the Hammersmith show describes a sold-out house and an audience arriving keyed-up, in a 1932 Art Deco room that suits the material better than a conference-centre hall would. The reservation implicit in most accounts is scale: 14 players is an ensemble, not the 60-piece orchestra the word "orchestral" tends to promise, and the trade is intimacy and folk texture against sheer volume of sound.

mxdwn's review of a North American date argued the arrangement choices pay off precisely because of that, drawing out how much dynamic range the Wild Hunt score has when it is not competing with combat audio, and framing the evening as a way of encountering the game from a different angle rather than a nostalgia exercise. That, more than the visuals, is what the production is selling in 2026.