NOVEMBER 9th, 2024
DREAM THEATER
Review By: Dmitry Sukhinin
Photos By: Polina Kulikovskikh
Photo Gallery: http://www.metaltitans.com/concertpics/dream-theater/

It could have been a criminal offense to not see prog metal titans, Dream Theater when there was a chance. I have had multiple attempts to get into the band, but every time the vocals have been stopping me from enjoying it to the full extent. We all know that a live experience is something different from the recordings, so going to see them was almost a must. The Sentrum Arena, with its 10,000-person capacity, was nearly full. I found a spot close to the sound engineering booth, which always promises the best possible sound—a good sign. Dream Theater had promised a lengthy performance, so all seating was reserved.

The show opened with a powerful projector elevated near the sound booth, casting bright lasers onto a large backdrop displaying the logo and 40th-anniversary image. The stage has a huge screen behind an elevated drum set with three kick drums and a little screen right under the drums. There are two sets of lights right and left.

The band sounds very powerful from the first notes, as they start playing Metropolis Pt. 1: The Miracle and the Sleeper. A great opener, by the way!  Recordings cannot convey how great guitars and bass sound! Every hit of Mike Portnoy’s drum is heard, and Jordan Rudess makes it all sound together with very audible keys.  Bass sounds simply gigantic, it almost feels how John Myung hits the strings, - I can hear the string clink, this is how clear the sound is.  Guitar is roaring, it is not so gentle as on their recordings. Keyboards are an installation from some space ship, Jordan rotates his boards making white and black keys seen to the audience. Then there are vocals that are a bit too high in the mix.. James LaBrie is all around the notes - he is not hitting them, but rather sliding to them from higher or lower registers. Echo and delay effect on the vocals do not save the situation.

Clean vocals is the most difficult element for a band - this is why loads of contemporary bands chose safer options with growls. Vocals always polarize much more than any other instrument in the band, and this for sure is a big pressure on the performer. Clean vocals mean you not only be accurate rhythmically, but also be very sound with pronunciation, hit the notes and have a pleasant tone. There are examples of very heavy music that has not been compromised by the clean vocals, with late Warrel Dane being a perfect example on how to fit into a very heavy band with clean vocals that improve the experience. Mike Portnoy does a lot of backing vocals that sound tighter than the leads. Mike has a rotating stand holding the mike that rotates towards him bringing the mic and then moving the mike far away, when there are no backing vocals. I could not figure out how it was being done.

James announces the song from an album that is celebrating a 30th anniversary, "The Mirror". Again, I am simply amazed by the guitar sound.

Have I missed anything so far? This is because I am a bit at a loss for words, I cannot even start describing how great John Petrucci’s solos are. It is almost annoying how effortless it looks when there are a million notes delivered. It is Petrucci, that is my main reason to want to see the band live - a phenomenon you have to see live.

When thinking of the concerts in general, I would say that Dream Theater delivers a very non-conventional performance. Starting from the sitting audience (and no jerks throwing beer up in the air), the band’s repertoire are long songs with very long moments and solos - and absence of vocals from the key picture. Yes, there are vocals, but they are not as dominant as in other bands, - so you feel being in an instrumental gig with some master of ceremonies, James, being rather an announcer of the songs (and doing vocals for the minority of the song as a bonus). This somehow makes long songs obtain a very natural feel - the set does not feel long at all.

At some point Jordan goes onstage with a keytar. I notice that Petrucci also delivers back vocals, and together with Portnoy the back vocals again sound much firmer than the leads. End of the first act, and John Myung plays an intro to my favourite "As I Am" with a heavily distorted bass. This song sounds insanely heavy. LaBrie does the vocals in the lower register making it sound quite good.

After 15 min intermission (just like in the symphonic concerts I used to see back in the day), the band continues re-energized. As a pattern, the band plays instrumental intro and then LaBrie runs onstage from the right corner. LaBrie announces a ballad This Is the Life that sounds exceptionally well with his vocals.
On milder moments Mike stands out from his huge drum kit like Lars Ulrich. The drums are not as huge as Terry Bozzio’s but still impressive, and Mike uses all of it.

I really like how the two acts were arranged - the second act has ballads, and more solos of individual instruments bringing the best from every member.

After more than two hours of prog I am not tired at all. The band is out from stage, then Wizard of Oz old movie visuals start an encore. Once again, guitar solos (go to see Petrucci!!!!!), drum solo, bass, keys.  Act II: Scene Six: Home, Act II: Scene Eight: The Spirit Carries On and Pull me Under, with audience singing.  Understanding how different this band is, it was awesome to see that Oslo Spektrum was full. It is heart-warming to think how many people like progressive music.