Tour: An Evening with Dream Theater, 40th Anniversary Tour.
Venue: International Convention Centre, Darling Harbour, Sydney
Date: Saturday, 14th of February 2026.
American progressive metal band Dream Theater’s legacy is not just built on absurdly incredible musicianship, but on their ability to carry a melody amongst the benchmark setting virtuosity. Having previously graced our shores with and without notable drumming legend, Mike Portnoy, the core writer behind the unofficial “Twelve Step Suite” of songs dealing with addiction, which span across various earlier albums as definitive highlights, Dream Theater reunited was celebrating their vast discography with a 40th anniversary tour.
This tour has been snaking its way around the globe for many months so on finally reaching Australia, the anticipation to again witness Dream Theater in a live setting, after being absent since 2017, was intense, with the longest line for merchandise inside the venue rarely seen at a progressive metal show. Tonight’s set list was known, diverging from the Portnoy tactic of rotating set lists at subsequent shows. But the eager crowd was not the least bit concerned by this, and if anything, welcomed the security of knowing the impending music brilliance.
To indicate the approaching first set of two, “Rooster” by Alice in Chains bellowed over the PA, followed by lights dimming with Bernard Herrmann’s “Prelude” from Psycho, which was also reimagined by Richard Band’s Re-Animator theme music. On walked the band for Set One with the stage set spread out, and staircases located on either side of the drum riser. Guitarist John Petrucci was again located at stage left but these days, he has gone digital, so the backline of Mesa Boogie amplifier stacks is no longer a live feature, although an array of foldback wedges were scattered strategically around the stage. Fingerstyle bassist John Myung, at stage right, was in front of keyboard player Jordan Rudess’s back riser area equipped with this spinning keyboard that included a front display of keys, and arty visuals, representative of various parts played during the show. In the centre back was drummer Mike Portnoy atop a riser and behind a huge drum kit that included three bass drums, an array of toms, glorious cymbals, and percussive items. Once the band was well into the opening track “Metropolis Pt. 1: The Miracle and the Sleeper”, and just after the keyboard figure parts, vocalist James LaBrie took to his vocals with a release of energy.
The synchronised soloing between Petrucci and Rudess was superb, making challenging music look easy. The stage sides were draped with the tour artwork, whilst a huge screen behind the drum kit, had various accompanying, song relevant visual content, which was also displayed on a smaller screen in front of Portnoy’s riser. “Act I: Scene Two: I. Overture 1928” provided yet another musical masterclass, swiftly followed by the empowering rhythmic groove of “Act I: Scene Two: II. Strange Déjà Vu”, with some backing vocals from Portnoy. The lyrically dramatic and musically galloping “Act I: Scene Three: II. Fatal Tragedy” provided a heavier, and darker feel, completed with double time parts, and impeccable scalar soloing from Petrucci.
“The Mirror” from Awake provided a dip into further heavier material, with Portnoy’s backing vocals punching through the song’s lyrical intensity. Ranging between grandiose band arrangements to softer arpeggiate parts, and soaring, wah pedal effected guitar soloing, it was a track that went against the grain of the grunge era, and cemented why the Images and Words album was no fluke, and put Dream Theater firmly in the category of serious musicians. It was followed with “The Enemy Inside” from previous technician drummer Mike Mangini’s era, flawlessly performed with fast drumming from Portnoy, and jaw droppingly precise yet melodic guitar work from Petrucci.
Falling into Infinity was not neglected either, as the rhythmically weaving “Peruvian Skies” allowed the band to indulge in adding snippets of Pink Floyd’s “Wish You Were Here” and Metallica’s “Wherever I May Roam”, without missing a beat between segue ways. Rudess employed a keytar to solo, and venture to the front of the stage, as Petrucci peeled off an array of whip fast guitar parts. Following the Metallica inspired vibe, “As I Am” from Train of Thought closed out the first set, with Myung’s bass harmonics and instrument mastery kicking off the track. All band members shone in this track, but especially Petrucci, who unleashed fast soloing with wide intervals, vibrato, alternate picking, and ferocious picking patterns.
The second set was primarily a means to offer a decent portion of material from Parasomnia in a live setting, given Australia missed out on that official tour, and started with short film story sections, and dialogue from the associated song’s introductions, with the heavy, bombastic instrumental power of “In the Arms of Morpheus”, which continued with the ebbs and flows of the remarkable initial reunion single track, “Night Terror”. Music proficiency abounds but with a greater sense of melody, with Portnoy’s ability to traverse time signatures hiding the complexity of the arrangements. “Midnight Messiah”, LaBrie’s favourite album track, was equally impressive with the various dynamics shifts, and Petrucci’s sweeping solo, after percussive guitar figures.
“Bend the Clock” offered acoustic styled guitar tones, mixed with driving vocals, before more fluid soloing, and smart phones lit up across the virtually sold-out venue. “The Shadow Man Incident” implemented an inflatable prop of the villain within the song, which Petrucci approached to touch it with some humour during his soloing parts. At close to twenty minutes of track time, it had more rhythmic changes, musical mood changes, and variations in intensity that ranged between complex, full band barrage, and whammy guitar purrs, to restrained keyboard washes.
The highlight, possibly of the entire show, was the second set closing track, a full rendition of “Octavarium”, which started off with Rudess setting the mood, in very Pink Floyd styled parts mixed with distorted finger responsive equipment to usher in the verse parts, with all instruments engaging in tight interplay. It was a treat for Australian fans to finally hear this astounding 23-minute-long, album title track in a live setting, and Dream Theater did not disappoint. delivering the track with incommensurate precision. Complete with legacy popular music references in the lyrics, and blindingly fast guitar soloing from Petrucci, alongside Portnoy’s drumming skills, the track soon saw Rudess reprise the introductory figure, before LaBrie completed the track, followed by a well-deserved standing ovation from the audience.
Returning for the encore, smart phones again were aloft as the philosophical ballad “The Spirit Carries On” provided a melodic yet technically engrossing track, as Petrucci’s soloing added harmony to fluid runs, and LaBrie sang his posterior off. Of course, the final track of the evening was the song that put Dream Theater on the musical map, as it were, with a boisterous version of “Pull Me Under” delivering effortlessly to the enthused audience. Heavy riffs intertwined with embellishments and melodic lines showed their songwriting genius was long ago established, with a sense of revolving figures and sections around the audience participation filled chorus. The final song perfectly executed with no sense of exhaustion, the performance concluded and as the band took their bows to the audience, the classic popular culture track “Singin’ in the Rain” was played over the PA, demonstrating the band’s wide breadth of musical appreciation, and sense of humour.
Dream Theater have been to Australia several times, but tonight’s performance and the tour itself is widely regarded as one of their best yet. To finally have Portnoy back in the band where he belongs, and to have the band’s older material celebrated, alongside fantastic new material, was indeed sensational. Their musicianship is the benchmark for almost every other band touring currently, with their internal dynamics finely honed, and tightly rehearsed delivery of intricate music something to be witnessed live to fully appreciate. Truly, one of their best shows, delivered with flair and musical passion.
Set One:
Metropolis Pt. 1: The Miracle and the Sleeper
Act I: Scene Two: I. Overture 1928
Act I: Scene Two: II. Strange Déjà Vu
Act I: Scene Three: I. Through My Words
Act I: Scene Three: II. Fatal Tragedy
The Mirror
The Enemy Inside
Peruvian Skies
As I Am
Set Two:
In the Arms of Morpheus
Night Terror
Midnight Messiah
Are We Dreaming? [Interlude]
Bend the Clock
The Shadow Man Incident
Octavarium
Encore:
Act II: Scene Eight: The Spirit Carries On
Pull Me Under.