Dream Theater North American Tour Dates (Feb-Mar, 2025)

[Schurftkut]

https://powermetal.de/content/artikel/show-DREAM_THEATER__Mike_Portnoy_ueber_die_Reunion_und_Parasomnia,11441-1.html

MP says they saved Midnight Messiah for the UStour...

[devieira73]

I don't speak German, but according to google translator:

"It feels like home." Mike Portnoy speaks from the heart to the fans.
Catching one of the DREAM THEATER musicians for an interview is more difficult than ever during the "40th Anniversary" tour. Worldwide interest is huge and the band plays four or five shows every week. On the evening of the first Brazil show, we catch Mike Portnoy, who is in a good mood and euphoric about the new album, but also gives some insights into his inner life.
Hello Mike. I'm glad that we're talking to each other for the third time today, but for the first time about DREAM THEATER. How are you in Brazil?
Very well. Today is the first show here and we're really looking forward to it. It's always great down here.
Now that you're back in the band, I've seen you twice on the European tour here in Germany. I have to say that for me those were the two most emotional DREAM THEATER performances ever. Does it still feel special to you?
I think that everywhere we go in the first six to eight months, when I'm back in each of these countries and cities for the first time, it's going to be a very special emotional feeling because for most people in the audience, it's the first time they've seen this formation together again. So it's going to be very special every single night until we start repeating the countries in the summer.
You can feel as an audience member that there's a special chemistry on stage. Do you notice a difference from before?
It doesn't feel different. It feels like home. It feels like it always felt. And it's nice to have that feeling again because my relationships with all the guys in DREAM THEATER are more than just being in the band. It's a family. You know, we started this band when we were teenagers. And here we are almost 40 years later, and we've had our weddings together, our children were born together and grew up together. So it's more of a family feeling. I think it's a great, really great musical chemistry, but it's also a personal chemistry that you really can't deny.
So when you were getting ready to tour and you were in charge of the setlist again, what were your criteria for the Mangini-era songs? How did you go about choosing the songs that you would play in the style of another drummer?
Well, the guys gave me complete freedom with the setlist, and that even included choosing the Mangini songs. So they gave me complete freedom to pick the songs that I liked or felt comfortable with. And the criteria for me was that they had to move me. It had to feel like something that I would feel comfortable being a part of. It had to be something that I felt would fit with that lineup. The two songs that I chose, 'Barstool Warrior' and 'This Is The Life', both moved me musically. I felt like they were really well-written songs that I could relate to. You know, to be honest, the gritty, technical drumming is not something I can necessarily relate to. I'm not that kind of drummer, even though what I do is often very technical and complex. When I drum, I have to feel it, you know. So I focused on the songs that moved me.
It was a good choice, I would say.
And I will also say that it's not like I haven't covered other drummers' drumming before. I've done that throughout my career, whether I'm filling in for AVENGED SEVENFOLD or TWISTED SISTER or FATES WARNING or STONE SOUR. I mean, I've done so many gigs as a stand-in and played other drummers' drum parts. So that's not something I'm uncomfortable with. I've done that throughout my career. Here I was able to choose the songs that fit well with my style.
In terms of the setlist, I was surprised how well 'Night Terror' fit in and how the crowd cheered like it was a DT classic, to be honest. I mean, it's a strong song, but you wouldn't expect the new song to be kind of the second set opener, right?
It was written by the five people who are on stage, so it feels very natural. But I think the acceptance was very big, just because everyone is excited to hear new music from this lineup. And you know, it was the first thing we released, so people were already familiar with it. And it seemed like the right opening for the second set. The first set is full of all the classics that we look back on from the band's career. But opening the second set like that felt very good, starting with something new and looking forward.
I guess you'll add more new songs to the setlist next year?
Exactly. I would say the first phase is about the 40th anniversary setlist and celebrating the reunion of this formation. But with the album coming out in February, at some point we have to shift the focus of the tour. And at some point, probably next summer, we'll start playing more of the new material. And we're even hoping to do a third tour at the end of next year where we'll play the entire new album because it's a concept album. So I think this whole world tour will go through different phases, and Europe is lucky enough to probably experience all three phases.
I'm looking forward to that. But let's talk about "Parasomnia". How did you start in the studio? What were the considerations beforehand?
It was completely natural. There were no conversations about the music at all. The only thing we had talked about beforehand was the "Parasomnia" concept. The concept of writing an album where we would have that as a lyrical theme. But that didn't come into play until the music had been written for months. So at the beginning of the session we didn't discuss anything musical. We just started jamming. And the very first thing that came out of us was the music for 'Night Terror'. And what you can hear on the whole "Parasomnia" album was just a natural expression coming out of the five of us. We felt very buoyed and inspired by being back together in that line-up. I've said this in other interviews, but the energy and inspired nature of the "Parasomnia" album reminds me a lot of how inspired we were when writing "Images And Words" and "Scenes From A Memory" because in both cases there was a line-up change. "Images And Words" was the first album with James in the band and "Scenes From A Memory" was the first album with Jordan in the band. And now "Parasomnia" is the first album where I'm back in the band, and it has a very similar energy.
You mention the "Metropolis" album, and a lot of fans have been hoping that you might do a third part of it. Have you ever talked about continuing that part?
We discussed it. And obviously we decided not to go down that path and start something fresh and new with "Parasomnia." And I'm glad we did. You know, as much as I love "Scenes From A Memory," I think it's a classic as it is. I personally have no desire to do a third part of "Metropolis." But the new dynamic of the band also dictates that we make the decisions together. It's not like one person is making the decisions and running the show and controlling the direction. So my personal opinion is that I have no desire to revive that world. I think we made as much of it as we could. But who knows what the future holds?
There are still a lot of fan service moments on the album, I would say. I just listened to 'The Shadow Man Incident' again before the interview. For example, the guitar leads are based on the "Metropolis" theme.
I also made a few hints in my lyrics for 'Midnight Messiah'. Of course, that was also intended so that the fans could discover these Easter eggs. But the second reason was that my lyrics in 'Midnight Messiah' also alluded to my return to the band in a metaphorical way. So I could play with that a bit with those lyrics.
Do you have a favorite moment on the record where you say, wow, I can't wait to play this song live?
Well, I love them all. 'Night Terror' was special because it was the first one we wrote. I always tend to love the long, epic songs. So 'Shadow Man Incident' is the big, long epic on this album. And if you look at past albums, most of my favorites are usually the long tracks like 'Octavarium', 'In The Name Of God', 'A Change Of Seasons' etc.
The song has all the DREAM THEATER variety, I would say.
Absolutely, I agree with you.
As for the sound, I don't know if it's just me, but the Mangini albums had some great songs on them, but I often couldn't handle the drum sound. But now that you're back in the band, the drums sound great. Who produced the album?
Well, it was a little different because the previous albums, John and I produced together and we did everything together as a team. And when I left the band in 2010, John took on the role of producer on his own. And after doing five albums that way, he obviously felt very, very comfortable being in control. And one of the very first things he mentioned to me when we started discussing the possibility of me coming back was that he didn't want to give up that role. So I had to respect that. I had to understand that I had been away all these years and that they have a certain way of doing things that I have to respect. That didn't diminish my contribution. I was still able to bring in everything I could want and that I ever had as a producer, even the whole idea of ��making this album thematically a concept album and connecting some of the musical themes and passages and having that cinematic feel. That was all my vision and suggestion. It was implemented that way, but I'm not credited as the producer. So I didn't have to sit there for a week and listen to the tracking of the keyboards. I was able to go home with my family instead.
When it comes to other things you did in the past that you had to give up, it was the "Ytse Jam Records" records. Now we have some re-releases through Inside Out, which is great for fans who don't have the originals.
The bootlegs were something that was very, very dear to my heart because it was my whole archive and I was the one who put all those CDs together. So yeah, I really enjoyed that whole project, and I know a lot of the hardcore fans enjoyed it. And now they've revived it without me as the "Lost Not Forgotten" archive. It's a little different. The cover is different and they removed my liner notes, which is a shame because I think sometimes you really need some context for some of those old recordings. You know, if someone's messing around on Spotify and they hear DREAM THEATER with 'Resurrection Of Ernie' from 1987, the demo, they're not going to know what the hell that is without context. So I thought my liner notes were very important in that regard. But if the hardcore fans really want that information, it's out there.
I'm glad I still have some of the originals here. Back to the album: What was James' role like during the recording? Was he in the studio with you guys or did he record his vocals back in Canada?
He was completely involved every step of the way. When we started the album, he spent the first week physically in the studio with us. And then when he came back to Canada, we had a system where he could be connected to us basically 24/7 via Zoom. So we had a big, huge monitor in the live room where we were writing, and he was on the screen listening with headphones at home in Toronto, contributing ideas and suggestions the whole time. And when all the music was written, he flew back to New York and we sat down and sketched out all the melodies together. "La da da da da da" [Mike sings spontaneously - NM], whatever. And then we recorded the melodies and then everyone wrote their own lyrics to those melodies at home. And then James came back and we put it all together.
This time the first single came out very early. Is that also a reaction to the Spotify and streaming thing where fans would rather hear a song and you get the promo ball rolling instead of releasing an album and maybe a single a few days or weeks before like we used to?
Well, we started the album in February last year and finished it in the summer and we knew it wasn't going to come out until February. And the tour started in October and we really wanted to share some of the new music with listeners and fans. It just seemed too long to wait until February for someone to hear something. So we thought it would be a good idea to at least release a first single so that people have something to look forward to and something we can play on the 40th anniversary tour. And now we're waiting again, we've just released a second single, 'A Broken Man', but that's not a single as such, more of a teaser for the album. As you could see, we didn't do a proper video for it. So it's just a taster to keep people busy until the full album comes out. And we're going to have a third single, which will be a proper single with a proper music video, which will come out in January, February I think, right before the album comes out.
Is that going to be 'Bend The Clock'? That would be my candidate anyway. You had a similar release on 'Black Clouds And Silver Linings' with 'Wither'.
No, the third single will be 'Midnight Messiah'. We'll have a proper video for it. To my ears, the three obvious singles are 'Night Terror', 'Midnight Messiah' and 'Bend The Clock'. But we didn't want to release 'Midnight Messiah' too early because we wanted to save it for the US tour. And we didn't want 'Bend The Clock' to be the second single because it's more of a power ballad and might give people a different impression of the whole album. So 'A Broken Man' is just a kind of taster.
Now that you're back in the band, do you have anything else on your wish list? Anything you'd like to do in the future? You've done pretty much everything. Concept albums, live shows with an orchestra, everything.
There are still a lot of venues we haven't played yet that we've always wanted to play. Like the Royal Albert Hall in London. None of us have ever played there, either individually or together. So it's still a place that we all hope to play one day. The Hollywood Bowl in Los Angeles is another place that we've never played. And the LA Forum in Los Angeles. So there are still venues that we're looking forward to. And also on this upcoming summer tour, there are a number of places that are going to be very special. For example, we're playing Pompeii, where PINK FLOYD's "Live In Pompeii" was recorded.
Those shows are very exciting and very special and unique to us, even after all these years. And then there are some things that we haven't done as a band yet, like doing the "Twelve Step" suite, we haven't done that yet. I did it on my "Shattered Fortress" tour, but not with DREAM THEATER. Hopefully we can do that one day.
Yeah, that would be really amazing. And personally, I'd love to hear 'The Best Of Times', the song you wrote for your dad.
Yes, absolutely. I hope to play it one day. I think it's the only song in my catalog that hasn't been played live. So yeah, hopefully we'll get to it at some point.
I'm looking at the clock - you have to get to the show now, right?
Yeah, exactly, it's about to start. Bye bye!

[devieira73]

I'm still reading, but it seems an interesting interview. MP commented about the Mangini era choices, cool!

[TheBarstoolWarrior]

Great interview. Kudos to the interview for asking how he chose the MM era songs that he did. I think MP answered it in a straight forward way that is consistent with how he has described his style in the past and how I hear it. That basically takes a lot of amazing songs off the table for the future but such is life. He made the right choices with BSW and TITL.

I have to say that if Parasomnia is not a prelude to a Metropolis III, I don't really get why TSMI references Metropolis themes. Not a huge fan of calling back to the classic stuff if the piece isn't actually connected. Equally not a fan of the notion that there are "fan service" moments though I understand and accept that this reunion is partly about nostalgia.

One thing that raised my eyebrow a bit: "my lyrics in 'Midnight Messiah' also alluded to my return to the band in a metaphorical way." ... not really sure how to understand that but I'll find out in a week or so I suppose.

[TAC]

Great interview. Kudos to the interview for asking how he chose the MM era songs that he did. I think MP answered it in a straight forward way that is consistent with how he has described his style in the past and how I hear it. That basically takes a lot of amazing songs off the table for the future but such is life. He made the right choices with BSW and TITL.

Yes, definitely, that was a great question.

We'll see about what is off the table. I know for each tour, which Mangini songs MP chooses will be of great interest to me.

[durga2112]

12 Step Suite on a future tour? Hell yes. 

[devieira73]

I loved MP having open up about Petrucci wanting to maintain exclusivity over the production. Great interview.

[devieira73]

Maybe a wrong impression, but I felt like Ytse Jam bootlegs or the LNF archives are kind of done.

[gzarruk]

That was a very good interview! Thanks for sharing.

Interesting that we might get the 12SS and TBOT live at some point, though he totally forgot Raw Dog even exists (as most people here want to) I'm also glad there won't be a Metropolis 3 anytime soon.

Maybe a wrong impression, but I felt like Ytse Jam bootlegs or the LNF archives are kind of done.

That'd be a real shame considering they didn't even finish re-releasing the original YJR catalog and also said they had "several new releases" from MP's archives in the queue since before he returned to the band.

Kudos to the interview for asking how he chose the MM era songs that he did. I think MP answered it in a straight forward way that is consistent with how he has described his style in the past and how I hear it. That basically takes a lot of amazing songs off the table for the future but such is life.

We'll see about what is off the table. I know for each tour, which Mangini songs MP chooses will be of great interest to me.

Going by his own comments quoted above here and the "technical drumming vs feel" thing, I'd say we can officially kiss most of these songs goodbye for good, specially the most complex ones drumming wise like Outcry, PBD, A View, The Alien?, you name it.

A bit of an unpopular opinion here, and I hope misunderstood what he said about this, but I wish "what I feel comfortable with" wasn't one of his main criteria for selecting which MM era songs to play live. I understand he doesn't want to play stuff he doesn't connect with, but this just means anything that requires an extra effort to learn and play will just be discarded. Instead, I wish he approached things with more of a "how can I challenge myself with this" mindset.

I know for me (and I'm obviously light years behind them in terms of instrumental proficiency), my biggest advancements as a musician (bassist mainly, and drummer) came by learning and mastering stuff I wasn't comfortable at all with at first, but after I suffered enough through them, I had grown in my playing and musical knowledge.

If he, by his own words, doesn't relate at all to "technical drumming" and that kind of thing, he'll most likely just ignore the songs that fall under that category and entirely remove himself from the opportunity of learning and growing at his craft with them. Just my 2 cents.

[DTwwbwMP]

I just hope we get songs like LOST NOT FORGOTTEN, BREAKING ALL ILLUSIONS & BRIDGES IN THE SKY in future years!

[macneil]

I have to say that if Parasomnia is not a prelude to a Metropolis III, I don't really get why TSMI references Metropolis themes. Not a huge fan of calling back to the classic stuff if the piece isn't actually connected. Equally not a fan of the notion that there are "fan service" moments though I understand and accept that this reunion is partly about nostalgia.

I've been wondering if maybe it's a spiritual prelude to Scenes or something along those lines. Could be a way doing a "follow up" without doing a full-blown Metropolis 3. Of course I haven't heard the album so I don't know how overt the references are.

Re the Lost Not Forgotten archives I do hope they at least put out Dark Side of the Moon, but I'm also getting the impression that maybe they're done.

[Dedalus]

"my lyrics in 'Midnight Messiah' also alluded to my return to the band in a metaphorical way."

MP has now managed to capture all my curiosity and attention. I really want to read the lyrics to Midnight Messiah.

I have always jokingly said that fans were waiting for the return of the messiah, because of what I interpret as an almost religious and devout relationship between a majority of fans towards Mike.

So having a song with the title Midnight Messiah that is a metaphor for his return automatically made me curious 

[Dedalus]

though he totally forgot Raw Dog even exists (as most people here want to)

So we should stop mentioning this song to prevent him from remembering its existence 

[Ben_Jamin]

If Machine Messiah is going to be brought out for the US tour, I hope it's swapped with Night Terror or As I Am.

[nobloodyname]

Zero chance Night Terror gets swapped out given what MP said in that interview. Which is fine with me because it works brilliantly live.

[TheBarstoolWarrior]

I've been wondering if maybe it's a spiritual prelude to Scenes or something along those lines. Could be a way doing a "follow up" without doing a full-blown Metropolis 3. Of course I haven't heard the album so I don't know how overt the references are.

Re the Lost Not Forgotten archives I do hope they at least put out Dark Side of the Moon, but I'm also getting the impression that maybe they're done.

I guess we'll see when we have the lyrics. The way it's described as (fan service) just makes me think they wanted to call back to the classics just for the fans and didn't have anything specific in mind.

[TheBarstoolWarrior]

That was a very good interview! Thanks for sharing.

Interesting that we might get the 12SS and TBOT live at some point, though he totally forgot Raw Dog even exists (as most people here want to) I'm also glad there won't be a Metropolis 3 anytime soon.

That'd be a real shame considering they didn't even finish re-releasing the original YJR catalog and also said they had "several new releases" from MP's archives in the queue since before he returned to the band.

Going by his own comments quoted above here and the "technical drumming vs feel" thing, I'd say we can officially kiss most of these songs goodbye for good, specially the most complex ones drumming wise like Outcry, PBD, A View, The Alien?, you name it.

A bit of an unpopular opinion here, and I hope misunderstood what he said about this, but I wish "what I feel comfortable with" wasn't one of his main criteria for selecting which MM era songs to play live. I understand he doesn't want to play stuff he doesn't connect with, but this just means anything that requires an extra effort to learn and play will just be discarded. Instead, I wish he approached things with more of a "how can I challenge myself with this" mindset.

I know for me (and I'm obviously light years behind them in terms of instrumental proficiency), my biggest advancements as a musician (bassist mainly, and drummer) came by learning and mastering stuff I wasn't comfortable at all with at first, but after I suffered enough through them, I had grown in my playing and musical knowledge.

If he, by his own words, doesn't relate at all to "technical drumming" and that kind of thing, he'll most likely just ignore the songs that fall under that category and entirely remove himself from the opportunity of learning and growing at his craft with them. Just my 2 cents.

I think you understood him correctly. He's going to choose the stuff he relates to, meaning the stuff he can 'feel.' I don't think he meant songs with feel - I think he meant songs he can realistically play based on his abilities. It makes sense.

I don't think he's going to ever play a song like View and change all the parts to suit his style. It's probably not a great use of his time at 60. There are a couple tunes I think he could choose which would be good for his style: Paralyzed, Out of Reach, Fall Into the Light, Bigger Picture.

...but yeah, anything from View is probably dead. I'm fine with that. View will live on like a cult classic film. No need to butcher the Alien live.

[nobloodyname]

...but yeah, anything from View is probably dead. I'm fine with that. View will live on like a cult classic film. No need to butcher the Alien live.

Well, that's the equivalent of leaving your studs in on a tackle

[TheBarstoolWarrior]

Well, that's the equivalent of leaving your studs in on a tackle

  you know what I mean. It's just not his thing. On a good day I would hope I am a decent guitar player but I would butcher a lot of Symphony X.

[DTA]

I could see MP pushing for some songs that haven't been played live like Surrender To Reason, Out of Reach, Viper King, Transcending Time - those are ones I feel are not out of his range technically.

Great interview, I'm hoping we get a setlist change-up for the US tour by adding in Midnight Messiah, though there's no way they'll take out something that's one of their "hits".

[devieira73]

Breaking All Illusions is probably regarded by the fans as the best MM era song and I think MP could do an excellent job on it (personally it was my "safe" MM era bet for this tour). But BAI touches on ADTOE and IaW similarities and because of that maybe MP doesn't feel confortable with some ADTOE songs. Well, some people also pointed out similarities between TITL and Another Day and MP is playing it. So who knows?

[TheBarstoolWarrior]

MP has now managed to capture all my curiosity and attention. I really want to read the lyrics to Midnight Messiah.

I have always jokingly said that fans were waiting for the return of the messiah, because of what I interpret as an almost religious and devout relationship between a majority of fans towards Mike.

So having a song with the title Midnight Messiah that is a metaphor for his return automatically made me curious 

That is truly how *some* of his fans have portrayed his return. He is to vanquish the mundanity that has taken over a once inspired band, and his fans haven't been shy about expressing how they feel.

[nobloodyname]

Unlike Mangini Moonmins who claim he took the band to another galaxy, and his absence now means Dream Theater are just a spectacularly average progmetal band, with uninspired writing accompanied by pub-level drumming.

[TheBarstoolWarrior]

Unlike Mangini Moonmins who claim he took the band to another galaxy

[nobloodyname]

[DTwwbwMP]

 

[Progmaniac1988]

Unlike Mangini Moonmins who claim he took the band to another galaxy, and his absence now means Dream Theater are just a spectacularly average progmetal band, with uninspired writing accompanied by pub-level drumming.

😂 only DT fans can take MP's return as an apparent downgrade hahaha MOFO's won't be happy no matter who's playing drums... just like how apparently the band turned mediocre after Kevin Moore left... The amusement this fanbase generates knows no limits lol

[Adami]

Honestly, the bands been going downhill since Chris Collins left.

[Ben_Jamin]

Zero chance Night Terror gets swapped out given what MP said in that interview. Which is fine with me because it works brilliantly live.

I'm thinking the same thing.

I think this is an excellent setlist and there's not much I would change either. Even though it has their "hits" it doesn't bother me. I just hope if they do add in Midnight Messiah it won't be with a song I really want to see like Hollow Years or Vacant/SoC. I wouldn't mind if they swapped it with Constant Motion.

[evilasiojr]

Agreed. I'd also include As I Am as a swap option.

[Rob24]

That is truly how *some* of his fans have portrayed his return. He is to vanquish the mundanity that has taken over a once inspired band, and his fans haven't been shy about expressing how they feel.

It's hilarious for you to say "they haven't been shy", given bashing Portnoy  and fans of his is literally the only thing you do on this forum.

It's seeping out of your posts all the time, constantly. You're being toxic. Nobody notices it.

[TheBarstoolWarrior]

It's hilarious for you to say "they haven't been shy", given bashing Portnoy  and fans of his is literally the only thing you do on this forum.

It's seeping out of your posts all the time, constantly. You're being toxic. Nobody notices it.

I think what's worse than the Messiah thing is when some fans can't or refuse to see nuance in opinion so they just label it as bashing.

And by the way, I've noticed some of your posts about other topics including James and forum members. You're one to throw around the term 'toxic.' You should take a dose of your own medicine.

[TAC]

It's hilarious for you to say "they haven't been shy", given bashing Portnoy  and fans of his is literally the only thing you do on this forum.

It's seeping out of your posts all the time, constantly. You're being toxic. Nobody notices it.

I don't think he's being toxic at all.

[Trav]

That is truly how *some* of his fans have portrayed his return. He is to vanquish the mundanity that has taken over a once inspired band, and his fans haven't been shy about expressing how they feel.

That is truly how *some* of his fans have portrayed his return. He is to vanquish the mundanity that has taken over a once inspired band, and his fans haven't been shy about expressing how they feel.

I agree some folks look at it this way. I think I (and perhaps a lot more people) a similar view. Maybe just not as extreme. I do feel the band had gotten a little "stale". I felt that way starting with the self-titled album and got worse with each release. I just feel like they needed a little shakeup. Portnoy coming back does that. Will it make everything amazing? No. But a shift was needed. I felt the same way after Black Clouds & Silver Linings came out, and the shakeup resulted in A Dramatic Turn of Events, which I think is a much better album. 

[WilliamMunny]

Honestly, the bands been going downhill since Chris Collins left.