Lin-Manuel Miranda and Eisa Davis, “Warriors.”

It’s not a stage show—at least not yet—but the latest project by Lin-Manuel Miranda is shaping up to be as ambitious as “Hamilton.” On Warriors, Miranda teams with playwright Eisa Davis to create a concert album adaptation of 1979 cult-classic film “The Warriors.”

The pair recruited an all-star cast of voices to sing or rap, while Nas and Grammy winner Mike Elizondo produced this album/soundtrack/score.

Miranda and Davis have crafted a concept album that reimagines the original story for a modern audience, centered on New York (of course). The songs feel authentic and not like they’re adapted for the stage. It’s entirely possible to not be a fan of theater and take away something from Warriors. With its infectious energy and innovative artistry, the duo’s vision not only pays tribute to the original but invites audiences to explore the complexities of identity and community within the urban concrete jungle.

The album opens with “Survive the Night,” with dancehall artist Shenseea introducing rappers from each of New York’s boroughs: Ghostface Killah, RZA, Nas and Busta Rhymes.

“Miracles can happen if we gather in the dark,” they chant collectively as the song builds.

“Roll Call” evokes the familiar “Warriors, come out to play,” as a lyrical rallying cry for the first time—a refrain that returns throughout the work. The album is expansive in both its depth and scale with more than two dozen tracks stretching nearly 90 minutes. Add to that the musical territory covered, with everything from hip-hop and R&B to ska and metal.

The album’s innovative pairings—often mixing musical theater talents with hip-hop, pop or soul artists—create an engaging experience. For example, “Derailed” starts as a hard-driving pop track before metalcore artist Kim Dracula arrives in the final verse. She returns on the fiery metallic blasts of the urgent “Going Down,” complete with growls and screams.

Elsewhere, Latin music is represented on the gloriously rhythmic “Leave the Bronx Alive,” with Marc Anthony and Luis Figueroa. The horn-laden chorus is expertly executed, creating one of the album’s most lively and memorable moments.

“Orphan Town” jumps back and forth between a slick mid-tempo R&B groove and a bouncy pop-punk anthem. It shouldn’t make sense, and yet it’s executed so well that it makes perfect sense. Screen actor Colman Domingo and stage actor Aneesa Folds team up to drop fiery flows on the rap-centric “Still Breathing.” Folds in particular delivers words at light speed.

“What do you do when they kill everything you believe in?” she asks in the track’s final moments.

Given the setting of the narrative, there are plenty references to New York landmarks and neighborhoods throughout. The underlying narrative plays out over the course of the album. Billy Porter adds his voice to the bombastic and ‘80s-tastic synth jam “Quiet Girls.” “Sick of Runnin’” begins with a meandering bass line and a jazz-heavy sound before the drums kick in for a throwback rockabilly tune. The dramatic “The Park at Night” adds some extra weight with the help of strings and a driving beat.

Kim Dracula returns for “Luther Interlude,” a song that brings an even more aggressive punk rock energy.

The album veers slightly more toward its story at the end with narrative tracks. The production team worked overtime to make the arrangements pop. Percussive loops are vibrant and hard-hitting.

The album closes on a decidedly eclectic note, from the heartfelt jazz balladry of “Same Train Home” to the bombastic “Finale,” which blends all the various styles into one track that jumps from arena rock to old-school hip-hop, touching the bases on everything in between. Whether Warriors achieves the heights of Hamilton isn’t really the point. But it’s clear that it’s a stage show that will grace Broadway sooner rather than later.

Follow writer Mike DeWald at Twitter.com/mike_dewald.