LIVE REVIEW: THE TEA PARTY 'Elements Tour' With Orchestra Victoria

As many times as I have seen The Tea Party live, they never fail to amaze me. Tonight was no exception. The first show of the Elements tour was nothing but a masterpiece and a master class in how rock n roll and classical music together can create such a complete experience.

This is the first time seeing The Tea Party without a massive production. The projected visuals on the screen behind the band and orchestra added elements to this show that were subtle and simply added to the performance. It is the attention to detail here that makes this show as close to perfect as possibly human. The lighting itself was elegant in its simplicity.

Opening with the powerhouse that is “Temptation” it became immediately obvious just how powerful this show was going to be. “Psychopomp” already has a beautiful arrangement behind it, the original quirky orchestration given a full-blown treatment that is lush and sweeping with Burrows, Chatwood and Martin delivered with the precise power that they are known for. “Gone” already has that beautiful string arrangement under it, but Orchestra Melbourne just make this song float. Most noticeably it is Jeff Burrows who seems to soak in the beauty of this song. Eyes closed simply taking in the lush and haunting arrangement. Martin’s voice during this is just everything, full of emotion and richness.

“Oceans” is hands down my favourite Tea Party song and to hear it live with such a delicate score arrangement behind I found myself floating away, riding the wave of the story. “Oceans” is a very personal song for me. It’s the song that comforted me in the passing of my grandmother and to know that it was written about the death of the bands manager just held another level of connection. It had me in a trance like state as my mind’s eye played its own montage. The subtlety beneath carried me away to the point of bringing a tear to my eye. God damn I love this band and this performance.

“Correspondences” is simply WOW. I cannot accurately describe how stunning this song is in this environment. What has become obvious is that nothing has been reimaged here, it has just been enhanced and with such grace. “White Water Siren” swells and surges to a beautiful peak, by this stage I admit my jaw is securely rested on the floor now. “Talk to me” Jeff Martin asks the crowd to a heckled reply of “take it off”, to which Martin simply replies “Nope!”. Which erupts laughter from the audience. Martin states ‘There is new Tea Party music coming and it’s going to be f*cking heavy. This next song comes off our last studio album ‘The Ocean At The End’ and we don’t get much of a chance to play this one so here is ‘The Ocean At The End’, it’s my opportunity to shred”. Martin did just that wowing Hamer Hall with one hell of an emotive solo so full of flair.

The last song for part one was the bands iconic ‘Walking Wounded’ which struck yet another level of connection as Martin conducted us as a choir. The audience was simply incredible and to be in the middle of the voices and music was just awe inspiring. At the halfway point I can already say that this is going to rank highly in this year’s best gigs.

A twenty-minute interval came and passed, and in that time, I had the opportunity to reflect on what I had just seen and heard. This show has reached parts of my soul that I didn’t know needed to be touched. This is such an exquisite immersive experience.

Introducing the second act for tonight Martin is reflective on the band’s first visit to Australia in 1993 when Triple J was playing their music and they stood in front of The Sydney Opera House for the first time. Where Martin recalls looking at the landmark saying to himself someday. Of course this isn’t The Tea Party’s first time at Hamer Hall, they have been here before in 2017. The iconic Hamer Hall is the home of classical music in Australia something Martin confirms. Yet the wide-eyed way in which he told this story is incredible as the second show and final of the wind element show of this tour being held at the Sydney opera House is that twenty-three-year-olds dream coming true.

Just as any good performer does Martins command over the crowd was obeyed and when he asked us to sing, we sang, when we were asked to stand, we stood. How could you possibly not say yes to a man with this much charm and charisma?

‘Release’ sets off this second act and it’s a song that is very close to the band as it started the White Ribbon Campaign. A campaign that is men against violence towards women. Martin goes on to say “That makes sense, doesn’t it? Why would you want to hurt the better half of the species? This is what this song was written for. Ladies this one is for you”. You can only imagine the roaring response.

Poignant and powerful this song just hits with its message and on cue Martin told us to stand and sing and all of Hamer Hall did. He was conducting his choir. The chant of I want you to be free was chilling, standing every hair on end. Again, just WOW.

Martin is brought his double neck Gibson SG which he joking refers to as his chiropractor’s super annuation fund. ‘Mantra’ is another one of those deep cuts that rarely gets played live. With the orchestra adding next level dynamics to this song you can’t help but be mesmerized with this song.

Seeing Jeff Burrows up this close you truly do get to grasp what an incredible drummer he is. It’s rare that I find a drummer with so much musicality, his playing is pulled back to a degree, it became a lesson in finesse over power, that is not to say his power was lacking, it was still there is in spades but the added connection and orchestration to the music was fully absorbed and respected.

‘Requiem” a staple of Martins solo set holds a special place to him. Tonight, it is dedicated to his Australian manager who lost his father recently and as he did with ‘Oceans’ spoke so eloquently about what comes after life, the spiritual side of death which made this song again take on a different feel. I love how music and its meaning can take you to a different place of awareness and understanding. I had held a vocal performance from the first part of the show as a surprise but with the performance of soprano Elibeth on this song it couldn’t go without mention or recognition. Her vocals simply wove themselves in and out of the orchestration, in and out of Martins vocals and the melody of the song. Simply stunning and a definite highlight of the night.

In any form ‘The Messenger’ strikes the soul and the arrangement her is just perfect. The power in Martins voice is exceptional; his delivery is immaculate.

Watching Burrows, Chatwood and Martin in this environment is simply exquisite. Sarah-Grace Williams has done such an incredible job leading this orchestra and is also engaging to watch. In all honesty this show is a sensory overload, filled with passion, precision, beauty and power.

‘Heaven Coming Down’ is a timeless masterpiece and as Martin describes he can’t still completely grasp how this song from a dark mysterious rock band managed to get the band a number one song across Canada. Performed to perfection, the delicacies withing the grit are incredible. Chatwood and his keyboard lines are stellar and built on by the orchestra. Hearing the chorus sung back by the crowd is another goosebump pinch me moment.

Inspired by working with the string section of the orchestra in rehearsals Martin decided to get a bow of his own as he wowed us all with a beautiful bow solo. The bite of a Gibson Les Paul with the delicacies of a bow gave ‘Save Me’ a whole new dynamic. The solo/intro was perfect. As for the song, we were all up on our feet chanting the chorus back. However, the defining moment of this song was Martins take on ‘Hallelujah’ mis song. We all know the song; there are some amazing versions out there but tonight I heard my definitive version. The acoustics of Hamer Hall paired with Martins vocal performance, nothing touched it. Again, I find myself transfixed, senses awaked and completely absorbed in the moment.

Launching back into ‘Save Me’ seamlessly before one final crowd sing along. This time I took notice of the acoustics in this room and damn we sounded good!!!

With the encore of ‘Sister Awake’ we were given one last chance to sing and sing we did. The smiles on the faces of all at Hamer Hall told the story perfectly. We all witnessed something very special.

Taking a final bow to a standing ovation Williams, Burrows, Chatwood, Martin and Orchestra Melbourne concluded what is now going to be tough to beat as my gig of the year. I could see this show week after week and not tire of it. So, if you are in Sydney or can make it to Sydney, I recommend taking the trip as I have a feeling there may be a little bit of extra magic in the Opera house that night.

The orchestration by Marc Ouellette was simply stunning and the way Sarah-Grace Williams conducted orchestra Melbourne in to be commended. Tonight was everything; it was lightning in a bottle, a storm in a teacup and nothing but exceptional.

The clashing of the Elements is the perfect storm. Power in grace, subtlety in tempest. Fire and wind are dangerous elements when put together and I think this was the intention when this show was being put together. In the wild it can be a dangerous combination, here in Hamer Hall it was controlled, contained, beautiful and purposeful.

Set 1 : Temptation, Psychopomp, Gone, Oceans, Correspondences, White Water Siren, The Ocean At The End, Walking Wounded
Set 2 : Release, Mantra, Requiem, The Messenger, Heaven Coming Down, Bow Solo/Save Me/Hallelujah/Save Me
Encore : Sister Awake