by John Johnson, TSO photos 📷 Bob Carey

Being a Tampa native, and associated with several of the Bay area’s musicians, you’d think I’d have seen a Trans-Siberian Orchestra show before. But alas, I had not. So when the opportunity arose (via Tampa Bay Music News and North Castle management, Kenny Kaplan), I jumped at the chance. And although it was a 3pm matinee on a Sunday, ten days out from Christmas, it seemed that more than 11 thousand other folks were just as enthused.

Here’s a little background info regarding Trans-Siberian Orchestra, for those that may not have heard of what this Bay Area iconic assemblage is all about. TSO was born in the mid-1990s from the vision of producer and songwriter Paul O’Neill (who sadly passed in 2017), who set out to fuse the power of rock music with the drama of classical composition and theatrical storytelling. O’Neill had been working with the progressive metal band, and St. Pete local darlings, Savatage. Along with band members Jon Oliva and Al Pitrelli, they began experimenting with layered orchestration, choirs, and narrative concepts that went far beyond traditional rock albums. The breakthrough came in 1996 with Christmas Eve and Other Stories, a rock opera built around interconnected holiday-themed tales, which unexpectedly became a massive success. That album established Trans-Siberian Orchestra not just as a band built from Savatage, but as a full-scale musical production, blending symphonic arrangements, lot’s of electric guitars, and elaborate live shows into a new genre-defying experience. With a heaping amount of holiday magic sprinkled on top, I like to refer to TSO’s particular musical bent as, Castle Rock.

The unseasonably warm Sunday afternoon show opened with a palpable buzz in the Benchmark Arena (it’ll always be the Ice Palace to us locals), as fans packed the house for what has become a beloved seasonal tradition here in Tampa. From the first notes, TSO plunged the audience into a rich blend of storytelling and symphonic rock, setting the stage for The Ghosts of Christmas Eve, a narrative journey that traces its roots back to the band’s famed 1999 production. Musicians and vocalists took their positions among an elaborate setup of lights, raised platforms, and orchestral sections, making it clear that this was going to be more than a concert, it was a holiday spectacle designed to transport everyone into a storybook world of ghosts, giant owls, clockworks and medieval Christmas magic.

As The Ghosts of Christmas Eve segment unfolded, the audience was drawn into the tale of a runaway finding solace and meaning through the music of the past. This part of the show leaned into narrative and atmosphere, guided by storyteller Phillip Brandon. With a ten-piece male and female vocal ensemble, consisting of individuals who could easily front their own groups, they flanked the immense stage with a local orchestra tucked underneath the drum riser. The some 20 to 30 performers began interweaving classical motifs with rock energy, punctuated by dramatic lighting, fake snow, and synchronized visuals that added depth to the emotional arc. It was both theatrical and musical, highlighting the group’s unique ability to fuse storytelling with high-caliber vocal performances, hair farmers shredding flying V’s, sleeveless tux jackets and tight leather pants, and a partridge in a pair tree.

After a non-stop hour and a half of lasers and exquisitely performed holiday adaptations, Pitrelli, with his strong New York accent asked the exhausted crowd if they’d like to “stick around and blow stuff up?”. He was answered with a collective positive response, and the ensemble kicked into another hour of TSO’s best. Anthemic favorites and crowd-pleasing chunky melodic hooks took center stage. Fan-favorite anthems like the most recognizable “Christmas Eve (Sarajevo 12/24)”, a Beethoven’s Fifth rendition, other iconic pieces as well as personal favorite “O Fortuna”, the latter being used at the beginning of every home game for the Buccaneers.

Regardless of what classical obscurity this tight knit group dug out of its sack of goodies, they were delivered with the power and precision that have defined TSO’s legacy for three decades. The soaring guitar work, cutting violin and keyboards, vocal perfection were all backed by massive video screens, pyrotechnics, every light source imaginable and even a swarm of miniature drones. The sheer magnitude of TSO’s production is simply mind boggling . The transition from narrative to pure musical showcase was a testament to the band’s versatility, turning the arena into both a rock venue and a holiday cathedral utterly filled with electric eye candy. At one point my wife, who was lucky enough to attend as well, exclaimed “I don’t even know where to look!”

By the time the final notes rang out, the thousands of lights dimmed, and the minutes long introductions of each stellar performer were proudly delivered by Pitrelli, the audience was left exhilarated and thoroughly entertained. The Ghosts of Christmas Eve story provided heart and context, while the finale of the beloved TSO classics set delivered the high-energy payoff that many in attendance had come to celebrate, and new-comers like myself thoroughly appreciated. Musically ambitious and visually breathtaking, the show reinforced why Trans-Siberian Orchestra remains a must-see holiday tradition in Tampa and beyond.

Now, Go Out and See, Hear and Feel Live Music