It has been nearly a month since Theory of a Deadman brought their “unplugged” tour to the Light House Arts Centre, and it was one of the most surprising shows of the year.   The band has remained a viable unit for nearly a quarter of a century, having been the first band to be signed to Chad Kroeger (of Nickelback)’s 604 Records imprint in 2001.  The band’s eponymous debut album was released in 2002 and established Theory of a Deadman as a force in the post-Can Rock era with hits “Make Up Your Mind”, “Nothing Could Come Between Us” and “Invisible Man” (which was included in the soundtrack for the first Tobey McGuire Spider-Man movie).   Over the better part of the last 25 years, the band has released 8 studio albums, and while some folks allowed their fandoms to lapse, it was clear on this night that not everyone has, as the show was a complete sell-out.

For an “unplugged” show, it was an unusually dressed stage, as it was adorned with neon lights and a bar and was fashioned after a classic ’80s suburban finished basement, complete with a set of functioning stairs and gaudy wallpaper that would look right at home in the Brady Bunch house.    The first to christen the stage was  Jeff Martin (frontman for The Tea Party), who pulled up a chair with both a drink and a guitar and settled in to regale the packed house with songs and stories from his storied career.

Jeff Martin

As one of the biggest acts of the ’90s Can Con rock scene, The Tea Party split its time between Canada and Australia. The band’s success in Australia led to Jeff Martin calling the country home for several years.   While he may not perform regularly in the Great White North, Martin’s voice and guitar acumen are still as distinct and powerful as ever, especially when he treated the Light House Arts Centre patrons with solo renditions of classics such as “The Bazaar” and the Daniel Lanlois gem “The Messenger”.   Both songs held up beautifully and still pack a serious punch.

The packed room also received a choral lesson from Jeff Martin to accompany him on his solo track “The Kingdom”.  The enigmatic frontman shifted gears on that song and injected a few verses from John Lennon’s classic “Imagine”.   The Tea Party frontman sounded as good as ever, and for some in attendance, it would have been worth the price of admission alone.   Capping off the performance, Martin launched into a fiery performance of “Sister Awake” and showcased his ability to fuse the Jim Morrison poetry and swagger with the spirit of Led Zeppelin.

It was then time for Theory of Deadman to walk down those stairs, to join the packed crowd in the Light House Arts Centre “basement”.     The North Delta BC band has been at this for a long time, and considering the slings and arrows the band had to endure at the onset of their career being constantly compared to Nickelback, Pearl Jam and a few other similar sounding acts, there were more than a few folks that would have doubted the band’s longevity.    I was a fan of the band’s early material, having owned a couple of the early Theory of a Deadman releases, eventually falling off and hearing the singles that hit rock radio over the years.  You could say there was a curiosity present to reconnect with the band and its material, especially since this was billed as an Unplugged tour.

The stage was set up to give a comfortable unplugged set-up, but after a couple of songs, longtime frontman Tyler Connolly explained that this was more of an aggressively unplugged set.   Not that the band wouldn’t have sounded great with a standard acoustic performance, but this was a far more entertaining and engaging way for the band to connect with the crowd.  Over the years, the Theory of a Deadman has evolved its sound by adopting elements of modern country music, making their music even more accessible.   At one point in the evening, Tyler brought out what appeared to be a vintage Polaroid camera and proceeded to snap pictures of the folks in the front, and tossed out the film to those captured, providing a fantastic memento for the evening.

Having drifted away from Theory of a Deadman for the past number of years, the Halifax performance was a terrific reintroduction to the band.   Considering the lineup hasn’t drastically changed over the years, allows for an increased comfort on stage, and the confidence that only experience can allow was evident.   This was a chill, low-key hang in the best way possible, in a take it or leave it sort of vibe.   Theory of a Deadman continues to carve out its own path, and you can be assured their tunes will be played around the fire pit for years to come.   Be assured that the next time Theory rolls through town, it’ll be another sold-out show, with this writer in attendance.

Theory of a Deadman

Jeff Martin