It’s been seven years since Massive Attack last came to Australia as part of their 100th Window tour and with such a long time between visits it was inevitable these shows were going to bring a fair amount of hype. While admittedly much of this hype was created right here on ITM, it was with words like “spectacular” that Massive Attack themselves set the benchmark for what was expected to be one of the biggest tours of the year.

As glowing accounts from the Perth show, set idyllically amongst the trees of Kings Park, began to emerge, Sydney was preparing for two nights of Massive Attack – in the mystical outdoor setting of the Opera House’s Forecourt, no less.

As the masses filled the steps of the Opera House trying to find the best vantage point of the giant dome stage built around an LED screen, the stage crew busily hurried in and out of the wings, hinting to the scale of the event about to take place. Opening with United Snakes (formerly a b-side and now on the Deluxe Edition of Heligoland ), the lighting element of the show was put into full swing as strobes and spotlights, perfectly constructed to match every drum beat, went off at a rapid rate.

Three sound towers erected around the stage delivered Massive Attack’s signature brooding bass and although there’s been murmurs since the event that the sound wasn’t loud enough, the sound from high upon the stairs where I was sitting was perfectly audible and crystal clear.

It wasn’t until extended Massive Attack family member Horace Andy arrived on stage for his performance of Heligoland’s Girl I Love You that the LED screen was fully put to use. A giant dollar sign followed by increasing monetary amounts occupied the screen, and thus the political messages began. While the actual meaning of this display was lost to anyone further away than the first few rows who were unable to see the small text above the figures, the general message was clear – our world is home to gross injustice.

The politically motivated displays continued as 3D and Daddy G, along with guest Martina Topley-Bird, took the crowd on a journey through their repertoire of hits, both new and old. A much more understated version of Teardrop, minus its moving heartbeat bass line, caught the crowd off-guard. While Topley-Bird performed a beautiful rendition, I couldn’t help but long for the original.

Despite having brought to the table some of their biggest hits, the predominantly 9-5 crowd was yet truly show their admiration for Massive Attack. That was until Horace Andy returned to the stage for Angel, his composure and ease juxtaposed against a confronting lights and visual display finally enough to get people’s fists in the air.

Music and serious political messages aside, 3D also entertained the crowd with some humorous banter between songs, at one stage suggesting a cultural exchange that would see Australia give the UK Michael Clarke in return for Pauline Hanson. A facetious shout out to Israel’s Ministry for Housing for their contribution to peace saw Deborah Miller introduced to the stage to perform Safe From Harm, before the main set was finished all too soon with Inertia Creeps.

As the lights went down and the smoke settled the crowd erupted in anticipation of the inevitable encore. Bounding back on stage, Daddy G and Horace Andy reworked the current single Splitting The Atom before Deborah Miller returned to perform the powerful Unfinished Sympathy. As people on the stairs jumped to their feet, and those already standing threw their heads back and their hands in the air, a sense of euphoria and nostalgia filled Sydney Harbour.

Then, just as I, and apparently the whole crowd, had accepted that Miller was no match to that of original performer Shara Nelson, she surprised everyone with her extraordinarily powerful voice, brining the roof (or should I say stars) down with a roar of cheers and applause. It was, undoubtedly, the moment of the evening.

Wrapping things up with Atlas Air and Karmacoma, the LED screen was used to assault the audience with images of national flags turned corporate logos, cleverly highlighting the impact of globalisation and corporatisation on our generation.

Although most were there for the music, 3D and Daddy G, together with United Visual Artists, ensured that people walked away that night thinking about more than just how much they loved Massive Attack in the ‘90s.