Gig Review: Dream Theater at ICC, Sydney

Live review: Dream Theater at ICC, Sydney on Saturday, February 14, 2026

By PAUL SOUTHWELL

DREAM Theater’s legacy is built not just on absurdly incredible musicianship but also on an ability to carry a melody amongst the benchmark setting virtuosity. Having previously graced our shores both with and without notable drumming legend Mike Portnoy, 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 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, and, if anything, welcomed the security of knowing the impending musical brilliance.

As the lights dimmed the band entered for Set One. Guitarist John Petrucci was located stage left but these days has gone digital, so the backline of Mesa Boogie amplifier stacks is no longer a live feature. 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. Portnoy was 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”, vocalist James LaBrie took to his role 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 and 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. This 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 segues. Rudess employed a keytar to solo, and ventured 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 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 the heavy, bombastic instrumental power of “In the Arms of Morpheus”, continuing 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 20 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 a full rendition of “Octavarium”. This began 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 track in a live setting, and Dream Theater did not disappoint. delivering it with incommensurate precision. Complete with 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”. This 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 the band took their bows to “Singin’ in the Rain”, demonstrating their  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.