Live Review: The Tea Party & Orchestra Victoria @ Hamer Hall, Melbourne

Some bands are more obviously suited to symphonic collaboration than others. The Tea Party’s material is a natural fit for reimagined orchestral treatments. Following their main set, frontman Jeff Martin describes The Tea Party’s orchestrated shows – backed by Orchestra Victoria conducted by Sarah-Grace Williams – as “a labour of love.” 

The rousing Temptation opens proceedings, during which Jeff Burrows’ powerful drumming resounds through Hamer Hall, showcasing this lush Melbourne venue’s enhanced acoustics. “One last kiss before/ You fade away…” – quivering strings abound throughout Psychopomp, elevating the drama, before the song closes out with a melancholy piano line echoed by Martin on guitar.

Martin explains he first composed string quartet parts for The Tea Party’s fifth album, 1999’s TRIPtych. He also shares that The Beatles’ Eleanor Rigby is one of his all-time favourite songs, informing Gone from the aforementioned album. At this song’s conclusion, Martin praises, “I just wanna put this orchestra in my pocket and take them home.” 

A stunning soprano, Elspeth Bawden, lends her divine instrument to two song arrangements this evening – Walking Wounded and Requiem – to spectacular effect. Her pure, bell-like tone contrasts Martin’s rich baritone – a collision of light and dark. 

Martin keeps Kenny Watt, his trusty guitar tech, busy by switching guitars between almost every song. His versatile playing style swings wildly from jangly strumming to flamenco style and shredding guitar solos (see: The Ocean At The End – we’re simply not worthy!). At one point, Martin hilariously refers to his cool-looking, double-neck guitar as “the superannuation fund for [his] chiropractor”.  

To open Save Me – within which a segment of Leonard Cohen’s Hallelujah is performed – Martin uses a bow to play guitar after admitting that rehearsing with Orchestra Victoria gave him “bow envy”. He also enjoys making the audience clap to the beat, engage in sing-alongs, stand up and sit on command – particularly during Release, the band’s song about violence against women. 

This Canadian trio has always explored music “from other parts of the world”, as Martin puts it, including North Africa, the Middle East, Turkey and India. This evening, we’re treated to a rarity, White Water Siren, which doesn’t sit comfortably within their typical rock-show format. Bassist/keyboardist Stuart Chatwood admits Mantra – another song the band’s rarely tackled live – is his favourite.   

The day after The Tea Party’s manager Steve Hoffman died in 2003, Martin reveals he poured his emotions into Oceans. 

“Does it tear you apart, my love?/ ‘Cause it tears me apart…” – Martin delivers Correspondences with maximum conviction. 

“There is new Tea Party music coming,” Martin teases. “It’s gonna be fuckin’ epic.”

Heaven Coming Down, the band’s only number one in Canada, is a set highlight.  

Returning to the stage for an encore rendition of Sister Awake, Burrows leads a clap-along, marvelling, “I can’t tell you how amazing this is!” Martin plays bongos, the string section takes flight, and the audience roars, ecstatic.

“What does absolute power sound like?” Martin asks. Our answer comes via demonstration, as The Tea Party launches back into their popular song, which is enhanced to perfection by Orchestra Victoria. Backed by a 50-piece orchestra, The Tea Party’s live sound is mightier than ever. 

Earlier in the show, Martin recalled gazing up at the Sydney Opera House during a sightseeing tour when The Tea Party first toured Australia. He was about 23 years old at the time and secretly hoped he’d someday get to perform at this iconic venue.

On February 11, his dream will be realised when The Tea Party plays at the Sydney Opera House, backed by the Metropolitan Orchestra Sydney, conducted once again by Williams. 

Wollongong, Brisbane and Adelaide will be treated to three-piece rock shows by The Tea Party on 12, 13 and 15, respectively.