SPILL LIVE REVIEW: FLEA & THE HONORA BAND @ THE OPERA HOUSE, TORONTO

FLEA & THE HONORA BAND

@ THE OPERA HOUSE, TORONTO

MAY 9, 2026

With 14 dates across North America and Europe, Flea made his solo Toronto debut at The Opera House for the second stop on his sold-out tour, in support of his new record, Honora. The album marked a significant departure for the Red Hot Chili Pepper bassist who sought to pursue a modern and experimental jazz soundscape as reflected by a stunningly intimate set in Toronto.

Walking on stage in a glittery suit, a pair of Nike Dunks, and a diamond chain, Flea led The Honora Band into “Good Night Darius,” an unreleased track that opens with a melodically spacey bass solo performed by Flea. As the band enters, the arrangement grows to become atmospheric, almost like a meditation, or perhaps a contemplation of the vastness of our existence and the universe. It was quiet as the band exercised a calculated level of restraint in creating a spacious wave of sound that left the audience immediately enthralled. As the band transitioned into the Afrobeat inspired rhythms of “Traffic Lights,” Flea danced around the stage with an abundance of energy when playing bass but stole the show through a string of jaw dropping solos on the trumpet. While apparent on Honora, this was spectacular to see live as Flea manipulated melody, harmony, and rhythm with what appeared to be a hunger to outdo himself with each solo throughout the night. This was best seen in “Maggot Brain” through a pair of extensive solos that saw Flea absolutely shred on both the trumpet like a jazz icon, and then on a fuzzed-out bass like the alternative legend that he is.

HONORA ALBUM REVIEW

From early on, it was clear that the band was employing a greater level of improvisation, not only in the performance of their solos, but in the length of each segment. This left Flea and company in a state of constant flux and reaction as they ebbed and flowed effortlessly through expanded arrangements and responding in the moment to the music that was surrounding them. This made for a truly special live environment and spoke to an impressive level of musicianship that was present on stage. Backed by guitarist Jeff Parker, drummer Deantoni Parks, upright and electric bassist Anna Butterss, and keyboardist, saxophonist, and Honora producer, Josh Johnson, The Honora Band was marvelous. Whether it was covers like “Wichita Lineman” or “Thinking Bout You,” or the Parliament inspired communal funk of “Free As I Want To Be,” the band performed with an unwavering commitment to their craft and an emotionally charged delivery. While the entirety of the performance was an incredible musical experience, there was something about the juxtaposition present between the set and “A Plea,” which saw Flea rip off his jacket and bare-chested scream with a raw intensity as he spouted messages of peace, love, and community. For a singular moment, Flea and The Honora Band traded their art nouveau, acid-jazz-fusion energy and embraced a punk ethos and a noise rock energy as the music swelled into a messy cacophony.

There was a level of joy on stage that I have only previously witnessed from Stevie Wonder. As Flea pranced around the stage, it was clear that the Honora Tour serves as an extension of the creative process and his artistic vision. With an emphasis on improvisation, I am confident that no show, despite a likely reoccurring setlist, remains remotely the same as the last, demonstrating a deeper love and passion for the art of creation itself. Furthermore, there is a level of unbridled authenticity to Flea that remains ever present; this is a man who has studied his craft to a point of mastery, despite his claims of being an lifelong student, but holds onto the aesthetic and energy of a scrappy punk, giving the Honora Tour the vibe of a Venice Beach arthouse curated by a street preacher. Ultimately, Flea is operating on an exceptionally beautiful wavelength making the Honora Tour among the most thrilling chapters essential to his artistry.

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