Evanescence last visited Australian shores in 2012, not long before they announced a hiatus. When some bands take a break from the music scene, they fade from people’s minds. But not Evanescence. The energy in the Sydney Opera House’s Concert Hall last night suggests everyone was simply waiting for their return.
It was the last of two sold-out Opera House shows performed as part of Evanescence’s Synthesis Live With Orchestras tour. These concerts bring to life the orchestral arrangements of classic Evanescence songs showcased on their most recent Synthesis album. Each Australian show sees the iconic ‘90s band paired with one of our own symphony orchestras. I might be biased, but I can’t imagine another state’s ensemble doing as well as the Sydney Symphony Orchestra.
The SSO took the stage first, paying homage to the pieces of music that inspired Evanescence frontwoman Amy Lee. It was a diverse set, featuring everything from Bach’s “Cello Suite N. 1, The Prelude” to AC/DC’s “Back in Black.” An instrumental set with so many classical pieces was a risk for this audience of mostly members of Generations X and Y, but they sat mesmerised. I was transfixed by the SSO’s charismatic cellist, who stood proudly at the front of the stage, playing with such passion that he snapped many of his bow strings.
While the crowd was appreciative of the SSO’s opener, it was clear everyone was here to see the headliners. The applause was enthusiastic when the band members joined the orchestra on stage, then rapturous when Amy Lee arrived, looking dazzling in a bold red dress. Often there’s an initial high when a band appears, then the audience settles. I rarely see shows like this when the crowd stays so up, rising to their feet time and time again throughout the set.
So did Evanescence live up to the adoration? Yes they did. It seems the time away from the spotlight might have done the band good, because they seem so energized. The band is tight and Amy Lee, breathtaking. I haven’t often witnessed such a powerful voice, haunting, able to go seemingly anywhere, strong yet vulnerable. She performs with such passion, still visibly so moved by the songs she wrote decades ago. She spent time at the piano, but also emerged from her self-confessed “comfort zone” to get closer to the people, something I really appreciated. I’ve spent good money on concert tickets in the past, only to have my view of the artist obscured by the piano. While I loved listening to her play, I was so glad to watch her in the front.
I’m not as familiar with Evanescence’s back catalogue as my husband. In many cases, I was hearing the songs for the first time. However, unlike so many gigs where I’ve been in a similar situation, I didn’t feel like a fish out of water. The music was beautiful, rich and powerful. I lost count of the number of times I leaned over to my husband and whispered how much I enjoyed a particular song. The singles were beautifully executed, especially “My Immortal” which seemed to bring many of us, including Amy, undone with emotion. But it was all so good that I didn’t find myself hanging out for the more familiar music. I just wanted to experience it all.
It would be easy for a band who’ve achieved as much as Evanescence to take it all for granted. But that’s not their style. I think we all melted a little as Amy spoke in such glowing terms of her appreciation for the audience and her excitement about playing the Opera House.
After nearly 12 years of marriage, Valentine’s Days tend to blend into one another. One thing is for certain, thanks to Evanescence, the Valentine’s Day of 2018 is one I won’t quickly forget.
Evanescence’s Australian tour concludes at Melbourne’s Rod Laver Arena on February 16.
Image source: Stephen Katulka
It occurs to me that I don’t write about a lot of kids’ music on here. In fact, there’s a good chance I’ve never written about children’s music. I’m not a mum, so the most exposure I get is when The Wiggles and Hi-5 pop up on the carols each year. But I did want to put the 
