"Crossover" has become a synonym in the music world for nearly any kind of synthesis of musical styles. Most of the "crossover" projects Lawton is involved with bring together a symphonic orchestral concept with genres of ethnic, folk or modern popular styles of music.
In a practical sense, the term "crossover" is used to describe many orchestral programs which are not easily categorized within the classical music canon. Examples of such "crossover" concerts he has led in the past few years have had the titles "Tangomania": virtuoso orchestral tango music, "Latino Classics": Salsa, mambo and tango, or "Kol Simcha": Symphonic Klezmer with The World Quintet.
A great deal of modern orchestral film composition mixes musical genres as a stylistic principle, for example: Hans Zimmer's mixture of rock/electronic styles in "Gladiator" or "Rain Man", John Williams' use of klezmer in "Schindler's List", Henry Mancini's jazzy riffs in "Hatari" and the "Pink Panther", etc.
Not surprisingly, many of the recordings and concert projects he conducts with the Deutsches Filmorchester are "crossover" in nature. This orchestra is exceptionally flexible and versatile in mastering unusual stylistic situations. It is a natural consequence of this capability that the Filmorchester is also regularly engaged to work with popular artists such as Mousse. T, Udo Lindenberg, Erkan Aki, Karat, Element of Crime, etc.