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If you want to get psyched for season 7 of Game of Thrones, coming this summer, you could do a lot worse than the live concert tour of its thunderous score.

But the multimedia tour — which was in D.C. on Wednesday, proceeds to Canada for the weekend, and will be in Boston, New York, and North Carolina next week — might be even better for spurring fans to go back and watch earlier episodes. More than a highlight reel with live drums and reeds, it’s a reminder of how incredibly far this series has traveled … with live drums and reeds. I can’t be the only one who misses Charles Dance as Tywin Lannister, right?

Across a sprawling set that nearly covered the Verizon Center’s floor, musicians both local and traveling backed up composer/conductor Ramin Djawadi as massive projection screens replay scenes from the Westerosi recent past. There’s a black choir, some solid percussion work, and a slew of wind instruments you’ve never heard of. There are also jets of smoke, wildfire-green lights, and confetti snow and Weirwood leaves that blow over the audience. They brought fire AND blood.

Things open with the GoT theme song, which is great, since it’s an HBO theme song and they’re all great. Then there’s an introduction to the Great Houses, which has a slightly cheesy Medieval Times feel to it (never bet on the Red Knight!), though it’s helpful to be reminded of house “words” we may have forgotten.

All the musicians are to be commended, with a special tip of the hat to the strings. The very best TV scores, such as Bear McCreary’s for Battlestar Galactica or Mark Snow’s for The X-Files, have a lot of moods to them. This tour whispers heartbreak in your ear, and then pounds fury into your sternum.

My main complaint about the concert is its heavy reliance on — and in some cases, incredibly poor choices of — clips from the show. We’ve seen Ned Stark’s execution already, thank you, just play the damn music. You don’t have to make people sit through the Red freakin’ Wedding just to play “The Rains of Castamere.” The producers appear particularly incapable of resisting trying to get mileage out of battle footage: Blackwater Bay, Castle Black, Meereen and Hardhome are all featured prominently. The Battle of the Bastards is played almost in its entirety.

The clips do better when they stick to a theme. Djawadi himself plays hammered dulcimer for a piece called “Needle,” which follows Arya and her little sword all the way to Braavos and back.

Best of all are the two closing numbers, both from season 6 finale, “The Winds of Winter.” In “The Light of the Seven,” Djawadi builds a beautiful sense of menace on an electric keyboard-as-pipe-organ while the violin and cello trade back and forth the swelling sense of fate. And the closing number finds Daenerys and her massive fleet crossing the Narrow Sea, sure the whet the appetite for this year’s episodes. That’s true of all of it, actually, though it’s pleasant to look back, too.