An overcast night surrounds Sydney's Tiktok Entertainment Centre, appropriately moody for Dream Theater's 40th anniversary tour.
The band start promptly on time (14 February), kicking straight in with power in 'Metropolis P. 1'. As an epic instrumental section begins, Jordan Rudess' keyboard tilts sideways while orange lasers shoot out. This is going to be a big show.
Animated visuals of air balloons cross the screen, as the band play waterfalls of notes perfectly in unison. "Welcome to our 40th f...ing anniversary tour. Can you believe it," frontman James LaBrie asks. "Most of you weren't even f...ing born! We're gunna have ourselves a grand old time," he promises.
Drummer Mike Portnoy motions to the crowd to clap along before the stage explodes in red and purple lights for 'Act I: Scene Two: I. Overture 1928'. Rudess' keys shine in a frenzy of notes before guitarist John Petrucci takes the helm with the kind of tone guitarists dreanm about.
'Young Girl Murdered' appears on a typewriter, as LaBrie returns, holding the mic out over the crowd. He gives his all, running across the stage as red visuals pump. The show doesn't stop.
Portnoy manages to make his epic drumming look effortless, as Ruddess enters a gorgeous classical piano section. LaBrie takes a sentimental moment with Ruddess for 'Act I: Scene Three: I. Through My Words', showcasing his emotional depth. The drums then kick right into your soul as tension builds, before smoke shoots out.
"There can be no turning back," LaBrie sings from 'Act I: Scene Three: II. Fatal Tragedy' and you won't be the same after this show. What ensues is simply more of the greatest music you have ever heard. The crowd clap vigorously for another frenetic ending.
"We've been out on the road for 15 months, so if we seem like we're losing it, we are," LaBrie jokes. "This is 'The Mirror'," he screams. The stage floods blue as pictures of marble statues appear. The song is dramatic, akin to thick goo slowly rising up over your body.
"How we feeling Sydney," LaBrie asks, as if he needs to. 'The Enemy Inside' follows, the backdrop swirling kaleidoscopically as Petrucci thunders. Coloured circles swirl mirroring the tracks cyclical fury, ending triumphantly in purple smoke.
The band take a slow moment under gorgeous aqua and purple lights, the keys bending up and down in 'Peruvian Skies', which features a medley of other tracks. Petrucci takes a grandiose solo before energy rises as Ruddess dons a keytar. More shred-tasm ensues, the band hyping the crowd right up.
Ruddess bangs the cymbals with Portnoy for the start of 'As I Am', as LaBrie again gives his all. An eye floats across the screen attached to octopus legs, while Petrucci shreds his fastest solo yet, the show hitting 1000 miles per hour.
An intermission ensues after what felt like two minutes, the show is absolutely flying by. 'Let's All Go To the Lobby' plays and it's the only time in history where the line for the men's toilet is four times the length of the women's.
The intermission ends with an animated film of a book flicking through gruesome pictures, as Act Two begins, focusing heavily on the band's new album 'Parasomnia'.
The band kick in loud and fast, Petrucci flowing 'In The Arms Of Morpheus'. 'Midnight Messiah' is heavy in a similar vein, Petrucci's tapping solo a shining light. 'Bend The Clock' begins with the crowd lighting up the arena, before the familiar guitar rings out. It's Petrucci’s longest solo yet and it's simply hypnotic.
For 'The Shadow Man Incident', a giant man with a broad hat and red eyes inflates onstage. As Ruddess takes a chaotic solo, Petrucci waves at the giant man. Ruddess then performs a solo on his slide-keys before 'Octavarium'.
LaBrie blasts out some long notes, before a belted section of powerful high notes is a vocal highlight; and suddenly, Act Two is over as well.
The encore begins with a dedication to all our lost loved ones, "who we'll meet at some point," LaBrie reassures. 'The Spirit Carries On' plays, lights filling the arena. "Sing it Sydney," LaBrie says and it's a beautiful moment in time, as he leads the crowd in a choir moment.
'Pull Me Under' closes an epic show, the final visuals a beating heart atop flames. Are Dream Theater the best band in the world? It's certainly the highest standard of musicianship humanly achievable, and the interlocked performance of the members is something rarely seen.
A mammoth of metal, it's clear to see how this band has been together 40 years strong.
