The Virtuoso Turning Pop Hits Into Viral Orchestral Magic

There’s a certain humbleness that comes with Archer Marsh that often masquerades as self-deprication – it’s a rare quality for someone so talented. When he was a kid, it was roots music, jazz and blues that inspired him to learn jazz piano. The rigidity of the classical route didn’t appeal to him. He began writing for TV and film early, gaining his first official credit when he was just 16 – although he’ll tell you it was “probably a sympathy credit”.

Despite having little interest in education, Archer went on to study Music Technology in London because it gave him a chance to live in the city. He slowly hustled his way into TV and film, keeping himself afloat building management companies' record labels. But he soon realised that the dedication and effort he was putting into the success of others wasn’t being appreciated. This prompted Archer to shift his focus towards something more personally fulfilling. He began booking orchestras and writing music that could be recorded live, learning as he went along. “It’s been a slow evolution, and it’s still evolving now,” he tells me.

Archer’s career has been a whirlwind. Nowadays, he’s soundscaping scenes in Bridgerton with a now viral cover, and J-Lo made a personal request to cover one of her songs for her birthday. He still can’t figure out why his music connects the way it does – but the magic it creates is undeniable for anyone who listens to it. I spoke to Archer to find out more about his genre-defying creations

LBB> Looking back on your career so far, what would you say has been your most defining moment as an artist? Who or what inspires your art?

Archer> It’s hard to say one thing that inspires me, or one defining moment. There are many. I think every time I get a job my imposter syndrome kicks in and I’m surprised. I’m always expecting to be found out any time soon! Having a No.1 in Germany with the winners of Germany’s Got Talent was very cool. Recording an orchestra in Abbey Road One, where John Williams has recorded so many iconic soundtracks was incredible. I’ve also worked with so many great artists and musicians, and surround myself with incredibly talented people on my team – this inspires me too. I also love watching and helping others grow and achieve their potential.

What inspires me is that there is always something new to learn; something new to experience. If you’re creative you can always find a new approach or new technology that helps the process.

I also believe that mindset is the most important factor in someone’s career and growth. Learning about my ‘self’ and growing as a human inspires me to be better creatively.

LBB> How did the idea of reimagining a track like Pitbull’s “Give Me Everything” as a neoclassical piece come about? What drew you to the song?

Archer> We did a series of re-works of existing songs and when listening to the string-only mixes, felt these were great as stand-alone tracks. I can’t take credit for the song choice, that was all the BMG team.

LBB> Bridgerton chose three of your tracks for season three. What was it about these tracks, in your opinion, that made them fit so seamlessly into the show’s emotional and visual landscape?

Archer> Hard to say, it can be a lottery. However, I try to create these tracks, not as a note for note soundalike, but more of an interpretation of the song, in a more classical fashion. I also love when strings are played a little more aggressively, and when the players, what we refer to as ‘dig in’ to the strings. Otherwise it can start sounding a little cruise ship for me, and that’s not where we want to be with these tracks.

LBB> You recently reimagined Jennifer Lopez's 'Waiting for Tonight' as an orchestral piece. What inspired you to do this and how do you think its timeless qualities resonate with today's audience?

Archer> J-Lo actually reached out and asked us to do it for her birthday party, which was great. That track was a no-brainer for me and I knew what to do with it right away. I think re-working these classic hits in a different way appeals to people who already love the song, but also can introduce people to the track who may not have heard it or been a fan of the artist.

LBB> The fusion of pop and classical is becoming more common, especially in shows like Bridgerton. What do you think it is about this blend that resonates so strongly with audiences today?

Archer> I’m really not sure – I wish I did know. I think perhaps people enjoy the uplifting nature of the classical instrumentation, but also perhaps when it’s mixed with a melody that they know and understand. People will always resonate with live instruments and maybe this is a gateway between liking the classical sound but not always the classical music?

LBB> What kind of challenges do you face when translating pop hits into classical arrangements while keeping their essence intact? How do you balance making something feel timeless but still modern?

Archer> Not all tracks will work – we tried ‘In Da Club’ by 50 Cent, and that really didn’t work! I like to hint at the track, and suggest certain parts of it that you may be familiar with but not entirely sure where they’re from – for example a chord sequence or a rhythmic motif, and then you get the payoff when the chorus comes, or the more memorable moment.

I think the use of live strings will always make it feel more timeless – it doesn’t limit the sound to the time period like the use of synths can or specific production techniques that are unique to an era.

LBB> With the success of the Pitbull cover going viral, do you feel there’s a growing demand for this kind of cross-genre reworking?

Archer> I really do – we have had many requests from many artists wanting their tracks to be interpreted in this way. I think there’s something that people connect to, a sentimentality that crosses genres and eras – I love creating emotion so if we can use that emotive feeling of the past and create a new live instrument classical version then I think it’s always going to be sought after.

LBB> Do you see this kind of reworked classical pop music influencing broader trends in film, TV, or even live performances? What can we expect from you musically in the future?

Archer> Perhaps? It’s hard to predict trends, and this was one that I was not prepared for as we had done the EP sequence a few years back. 

I am working with BMG on some new music - and then I also have some original music in production that hopefully people will like.

LBB> What’s your favourite piece of music and why?

Archer> I love the theme for Schindler’s List – I think it’s a masterpiece. It’s so emotional yet is not overly Hollywood or dramatic. It is so respectful of the content, and story of the movie, a truly emotive and perfect piece of music in my opinion – as a stand-alone piece but also one that works perfectly with the picture, narrative and magnitude of the events it is underpinning.