Synthony has grown from a novel idea into a global phenomenon. Since its inception in New Zealand in 2017, the show has toured the world, combining the thrill of a dance floor with the majesty of a full orchestra.
Fans have packed out the Myer Music Bowl in Melbourne, filled venues in Sydney and Auckland, and even celebrated the concept under the neon of Las Vegas. At its heart is the orchestra (in Adelaide it was the Southern Cross Symphony), working hand in hand with DJs, vocalists, and visual designers to reinvent club anthems for the concert hall.
Last night, Adelaide got its turn, and the Entertainment Centre was heaving. A pre-show set from Yolanda Be Cool set the mood, their beats threading familiar samples into a playful warm-up (though they cut their big hit with DCUP, We No Speak Americano, short).
Then conductor Sarah-Grace Williams bounded onto the stage, all charisma in a green silk jacket, white sneakers, and a long-braided ponytail that swayed as she danced while conducting. Her energy was magnetic; she led with precision but also permitted the audience to let loose like her.
The range of guest performers added colour to the night. Gareth Gould’s vocal power soared above the orchestra, while Cassie McIvor brought emotional clarity to her features. Both showed an adaptability across genres that made the setlist flow.
Saxophonist Matty O was another highlight, drawing cheers with phrasing that seemed endless, particularly on Avicii’s Levels; his breath control is remarkable even against the swell of strings and percussion.
Yet Synthony is not just about individuals. At its best, it’s about the orchestra in full flight. When the Southern Cross Symphony took centre stage on instrumentals like Darude’s Sandstorm, William Orbit’s Adagio for Strings, or Robert Miles’ Children, the fusion truly landed. Those moments revealed why this format has travelled so far. It’s not a DJ with backing players, but a reimagining of dance music as symphonic spectacle.
The light show was another triumph, turning the arena into a festival environment. Lasers and strobes pulsed with the beat, while the floor below moved like a single body. During tracks such as Levels, the visuals and music merged, and the roar from the crowd was as powerful as the brass section above them.
Still, there were some structural issues. The constant exhortations for Adelaide to “make some noise” sometimes felt at odds with the grandeur of the orchestra. They are common in dance culture, but they pulled focus from the sweeping arrangements.
Similarly, the way vocalists walked on and off stage after each track made the pacing clunky. Brackets of songs or smoother transitions might have kept the momentum high. Some selections, like Murder on the Dance Floor or Kings of Leon’s Sex On Fire, did not showcase the orchestra’s strengths as clearly as other numbers.
The percussionists worked like war drummers or jackhammers on a building site. The material demanded relentless drive, and they delivered it with flair.
The post-show party with Shapeshifter extended the night, a reminder of musical director Dick Johnson’s vision to bridge club and concert hall. His programming continues to evolve, and even when choices don’t fully land, the ambition is undeniable.
Synthony in Adelaide was a celebration, a reminder of the timeless energy of dance music and the new life it takes on in symphonic hands. The orchestra shone. The floor shook. And the city joined a global community of audiences who have discovered that rave anthems and classical craft are not opposites but perfect partners.
Synthony No.5 played at the Adelaide Entertainment Centre on Saturday 6 September as part of a national tour.
See dates below for remaining Australian dates.
Tickets are available here.
Website: https://synthony.com/shows/australia/
Socials: https://www.instagram.com/synthony/
Images supplied by Duco Events.
2025 Australian Tour
(remaining dates)
Perth 19 September, RAC Arena
Brisbane 4 October, Riverstage (outdoor)
Sydney 5 December, Sydney Opera House Forecourt
