Sydney provides a perfect night for emo legends The Used to commandeer The Metropolitan Orchestra at the Opera House for a one-night-only show that might just define their career.
Pink and blue lights drift down over the crowd who are all dressed to the nines (29 March). The orchestra sit expectantly for their conductor, the choir standing tall. Blood red flowers adorn the stage in a stunning touch.
Conductor Sarah-Grace Williams enters, as one patron yells "oh my goodness". The anticipation is palpable. Eerie strings build tension as the lights flash.
The choir enter with force as the harp rings out, before the strings pluck the introduction to 'The Bird And The Worm'. It sounds as if the song was made for this exact setting.
The band enter and frontman Bert McCracken holds his hands out to the audience. The sound is overwhelming and harmonious. You may be ruined attending any other concert ever again.
The lights flood red for 'Take It Away', the crowd entering swiftly in each chorus, and there's a perfect second choir here tonight. "Sing it!" McCracken demands for the repeated line, "take my hand". The unison in the room is a wonder to behold. Yellow and white lights shoot out, as Dan Whitesides' drum fills shine. The band look pumped, full of adrenaline.
A happier melody bounces along on the massive grand piano for 'Buried Myself Alive' as McCracken holds his chest with an even bigger smile. The song sends warmth into your heart, as immense sound fills the space and orange lights flood the stage.
"Right where I want you," McCracken belts out with feeling, as the choir enter for the final chorus. :If you want me back, you can f...ing kiss my ass," he says, ending the song with middle finger raised.
"Sydney Opera House, how is everybody feeling," he asks, and they erupt with hoots and hollers. McCracken says hello to his family, who are seated near the front, as a gorgeous string arrangement commences. The band look visibly emotional.
Acoustic guitar enters gently for 'All That I've Got', the cello bouncing through the verse. McCracken holds the mic out to the crowd for the first chorus, and they're screaming with all that they have. The line "f... me!" draws a huge response.
Low choral voices enter for the bridge, before the sopranos' notes are ear-splittingly high. It's rock music as you've never imagined it could be. "How incredible is this," McCracken asks, as if he himself can't believe it.
The hit of the orchestra in the final chorus of 'I Caught Fire' is euphoric, as McCracken states "this is is one big happy family sing-along," and it surely is.
Orange lights enter for 'Yesterday's Feelings', which is mostly acoustic. It's a delicate and gentle reprieve from the sheer immensity of prior songs.
McCracken then delivers a spoken-word piece with summoning eyes, as strings enter smoothly under grey lights for 'Poetic Tragedy'. Somehow even the growl vocals fit with the orchestra. The sound balance of the band and orchestra has been perfect, neither overpowering the other, simply blending steadily.
"You can stand up for this one," McCracken says for 'Blood On My Hands', the stage shifting red as the feel gets much heavier. The drums are fantastic in the bridge, the choir belting out. The sopranos scream dissonant notes to end and it's immense.
'Pretty Handsome Awkward' is another song seemingly made for this setting, ending with a brilliant guitar solo from Joey Bradford. Thus ends Act I, and the crowd is absolutely buzzing.
After the intermission, the band re-enter without conductor or choir. 'Say Days Ago' starts the second act under orange lights with a heavy feel. "Let's play some punk-rock sh.t," McCracken says before 'Bulimic'. "Goodbye to you," the crowd scream under red lights, but no one is going anywhere.
'Sound Effects And Overdramatics' is loud and rocky, McCracken gesturing out to the crowd to get even louder. The scream vocals are full and powerful from bassist Jepha Howard.
"I cannot believe they let us play here," McCracken says, and you almost can't believe it yourself. "I wanna take a second to soak it all in."
'Let It Bleed' is happier under red lights, a brilliant piece of songwriting, before 'On My Own' starts with acoustic guitar under white lights. The strings are beautiful, as McCracken belts "on my own," with power.
"We love you!" a crowd member yells. McCracken swings his hand with a 'stop it!' gesture. It's all warm and fuzzy in here. He recites the soliloquy from 'Hamlet' solo, before the band re-enter and the piano starts as the choir drift in.
'Blue And Yellow' is emotional, the choir entering vocally in the bridge. "Rather waste some time with you," the crowd sing and it's glorious. Triumphant strings end the piece, as the crowd sing a capella without exhortation, and you can feel the band's hearts bursting.
"You're all looking fancy," McCracken says. "Are you feeling fancy?" The crowd rise to their feet for 'The Taste Of Ink', which finds new dimensions.
McCracken stands alone for 'Smother Me', an elongated string introduction bringing tears to eyes around the room. "Let me be the one who calls you baby all the time," McCracken sings delicately as the cello bounces. It's the kind of simple song that awakens the deepest emotions.
"That made me cry," McCracken says, and it's hard to see a dry eye anywhere. Dramatic strings swell under blue lights for 'A Box Full Of Sharp Objects', the choir singing ominously. It's full and intense, before the band segue into a section of 'Smells Like Teen Spirit', Bradford smiling a huge grin.
The band throw out roses and take their bows with Williams, and suddenly what felt like a fever dream of fantasy is over. As the crowd head out past the massive Harbour Bridge you feel the immensity of what you witnessed here tonight. It was a truly magical moment of music history.
