Dream Theater

Radio City Music Hall, New York City

Five blocks away from the venue, in a rough-edged New York Irish bar, the sound of a typically intricate Dream Theater track rattling out from the speakers provokes quizzical looks on the hardened faces of the regulars. Raised eyebrows become irritated glances at the jukebox when it is realised that my selection is a 25-minute epic and we’re. only 10 minutes in. As cantankerous curses of “Who the feck are Dream Theater?” bounce around the room, I make an exit.

But that kind of reaction is nothing unusual. Outside the readership of the specialist music press or the group’s rabid fanbase, Dream Theater remain virtually unknown. Yet their music provokes such fanaticism that there are many who have travelled frightening distances – from as far afield as Australia and Latin America – just to attend tonight’s gig at this notably plush venue, Certainly the beautiful art deco interior architectural styling – complete. with chandeliers and plush carpets – is far removed from where the band began paying their dues, at grittier clubs like L’Amours in Brooklyn two decades ago.

But the Dream Theater’s rise to fame has been an odd one. The single ‘Pull Me Under’ proved to be an unexpected flash in the mainstream pan, but since that fluke 1992 hit they have gradually, but constantly, increased their fan base to such a degree that the 6,000-capacity Radio City was sold out in a matter of hours. Which is not bad for a band that nobody has heard of.

As the finale to their 20th Anniversary Tour, this home-coming gig was billed as A Very Special Evening With – a heading that had, naturally, led to fervent debate among their cult-like fans as to what that might entail. Unfortunately (but somewhat predictably, given his past form), former keyboard player Kevin Moore once again shunned the invitation to perform a guest spot with the band. But there were still enough unique moments in this all-encompassing three-hour set to live up to that Very Special... billing.

The first section of the show, with the exception of a couple of tracks from their latest album Octavarium, brought together nuggets from their early back catalogue, including the Rush-influenced ‘Another Won’ which dates back to 1985 when DT were still known as Majesty. ‘Under A Glass Moon’ and the beguiling ‘Innocence Faded’ were also welcome returns to the band’s set.

The real surprise of the night, however, was revealed following a short intermission, when the curtain was raised to reveal a 20-piece orchestra behind the band.

In general, the idea of a rock band performing with an orchestra is misguided one best left to the 70s, and the concept became passé about a decade ago (witness such hideous, watered-down examples as Metallica’s orchestral dabbling on S&M, or the elevator music the Scorpions produced when working with the Berlin Philharmonic). Mercifully, the orchestra backing tonight was unobtrusive and only strengthened the keyboards of Jordan Rudess. And, of course, there are numerous songs in Dream Theater’s back catalogue that are perfectly suited to such the addition of orchestral arrangements. ‘Six Degrees Of Inner Turbulence’ (the second disc of the album with the same name) was performed in its 40-minute entirety, and ‘Sacrificed Sons’, ‘Octavarium’ and ‘Metropolis’ also sounded delicious when enhanced by a lilting string section.

Backstage after the show, Dream Theater’s emotional and visibly drained drummer Mike Portnoy is still planning ahead: “Next time we’ll do it on your side of the pond,” he says. “How does the Royal Albert Hall sound?”

—Rich Wilson