Biped and I went to see Amanda Palmer live the other weeked. We may have mentioned this already, but I felt it could bear repeating. Especially since I tried taking a few little videos with my camera and this is probably the best way to stitch them together.
A disclaimer, before I begin: my camera takes extremely poor quality videos to start with, and uploading them to youtube made them even less good. Also, my hands are a bit too shaky, and most annoyingly of all my camera will not record more than a minute's worth of footage in one go. Therefore, you follow links at your peril. However, the audio doesn't seem too dreadful, so hopefully those of you who want to have a look will get something out of them - and if I tag them sufficiently, hopefully youtube will throw up links to better quality ones. Sorry...
I met biped in Camden after work on Friday, sitting happily near Mornington Crescent tube station until she showed up. As we queued down the side of KOKO (or the Camden Palace as was), a nice girl came down the queue handing out cheapo bubble wands. It turned out she was just another ticket-holder, but had thought it would be fun to have everyone blowing bubbles as we waited outside. She was, of course, right, and much amusement was generated from the hundreds of bubbles spiralling off in the cold evening wind - it also got everyone in the queue talking to each other, because it is hard to ignore people in a British way when your bubbles have just blown into their face. One has to at least apologise and talk about the weather. Sadly, we were of course not allowed to blow bubbles inside, so this was only a quarter hour or so of entertainment - but it was a great idea.
Inside, we looked around for a location to claim and settled on a side area of upstairs balcony railing. We took it in turns to hold our claim to this two-person space whilst one of us at a time went to the toilet, and then we watched with interest. At first there was some random couple of musicians playing just on the audience pit floor, but they packed up before a dapper little man arrived on stage and told us it was Saturday, and then the first official warm-up act came on. He was
Jason Webley, a slightly crazy rock accordionist. Yes, I didn't think those two things went together either, but they sort of do. He was a lot of fun, getting the audience to join in with his songs and sway along to things. He only sang about three songs, and was then succeeded by
Zoë Keating, who was very good but sadly somewhat talked-over by the annoying crowd who had been hyped up by the previous act and were in no mood for odd cello solos. She amused myself and biped because she was using professionally the kind of equipment that we had seen Pagagnini play with for comic effect at the Edinburgh Festival - she was playing a line, then recording the harmonies over the top as she went, becoming her own cello ensemble. It was quite fantastic.
(Note: links from this point on are to my videos on youtube or my photos on flickr.)
Then the lights went down, and we were asked to share the grief and mourning associated with the death of Amanda Palmer. For those who do not follow her career, her debut album recently released is called Who Killed Amanda Palmer? - which is both a Twin Peaks reference and some sort of metaphorical statement. Therefore, many recent performance stunts and her live show itself are themed around this fictional death of hers. Therefore, to start the show, we were welcomed and invited to share our grief with each other. And particularly with Neil Gaiman, who appeared on stage as if by magic and started reading a eulogy to the sadly departed Amanda Palmer, who had died in
any number of ways according to the bubblegum cards being traded across America. While he read this, Amanda herself was slowly carried in by her entourage and propped up behind her keyboard like a corpse with rigor mortis. (At one point, she toppled over.)
Neil Gaiman and the Danger Ensemble faded away to the back of the stage, and the show opened on the same explosive beginning as the album: Astronaut. This is a song which I have been warming to ever since first listening to the album, slowly tying it together into a whole thing, and I think seeing it live completed that process. There was no disconnect between the loud and quiet parts, no inconsistency of atmosphere or character, and it was quite simply a superb opener. The still, calm parts seemed to echo the silence and eulogy we had begun with; the sound and fury resonating with the anger that lies a bare few inches under the skin of all her songs, and both part of each other.
Without a word, she finished that and went straight into her next song: Ampersand. At this point, biped was apparently worrying that she was just going to go through the whole album in order, but I wasn't noticing. As Em once said in an email, this song is good live - probably better live than it is on the album. It's a long discourse between singer an audience, a miniature stump speech with a proposal for life and how to live it, and as such it comes across stilted and slightly self-obsessed on the album. But in real life it works, she's talking to you and just sharing the craziness of the world.
This set list, by the way, is coming to you courtesy of what I scribbled down once back at biped's, when we were both exhausted and could barely even remember what we'd heard any more. For this reason, I am a not 100% sure of the song order, but I think it went like this:
Blake Says next. A beautiful sad little song, executed brilliantly and with the assistance of some people (probably the Danger Ensemble although I didn't notice) who infiltrated the audience and
acted out a little scene for us.
From thence, she segued out of sadness into violence, from her own album back into our first Dresden Dolls song of the night - but not one I would have personally chosen,
Bad Habit. I must say though that although I thought 'meh' as it started, I thoroughly enjoyed it possibly
because I don't listen to it often so don't know every chord and beat by heart. Also, the energy behind it was just fantastic - a short clip
here (sorry about the stupid girl next to me suddenly sticking her arm out, pft).
Then we took a turn into the menacing and creepy, with Strength Through Music next. This is a song that I admire on the album but do not listen to much - partly too creepy, partly not musical enough for driving in my car and singing along to things. Here, after Amanda introduced the song in context of the Columbine and Virginia Tech shootings in America, the strange little voiceover at the start was replaced by a simple reading of the names and injuries sustained (shot three times in the leg... shot once in the jaw...). It was pretty intense and only a little bit spoiled by a girl behind us who just would not shut up nattering at this point, and sighing heftily over everything Amanda said. It is possible she had some emotional connection to school shootings that we should have been forgiving of, but... really, it was frigging annoying while the song was being played. I'm impressed with biped for not squishing her like an annoying insect.
As the song had progressed, the Danger Ensemble had come on stage dressed as schoolkids, the better to emphasise the point (and adopt various attitudes of painful death at the end). This then led in perfectly to a strong and bouncy Guitar Hero, as they jumped around the stage adopting game-player poses and eventually 'killing' one of their number (by pushing her off the stage). I later remarked to biped how thematically excellent it was to put these two songs together and link them so explicitly, since to me they deal with very much the same subject - whereupon biped needed reassuring that I don't actually think playing computer games leads to homicide. Which I don't, but I think the songs do...
The song ended, the stage cleared, and Amanda took a little time to talk to us. She started introducing a song for those who have broken up, who might want to sit in a smoky old bar... and I knew where we were going with this and grinned wide. I know the version that Em was so lovely to pass on to the rest of us of
I Google You was live anyway, but I decided I actually quite liked the KOKO audience at this point, because they loved this song. You'll hear it in the laughter on my
video (with gaps where I had to start the camera rolling again) - each line was carefully listened to and rang a chord of resonance in our sad little British bones - I think my favourite line is the would-be PhD from Chesapeake.
From this, we moved to the guaranteed crowd-pleaser of Coin-Operated Boy. Much of the audience sang along, the Danger Ensemble did their best work of the night chasing each other through the audience, and Amanda herself dissolved into laughter a few times at their antics (she particularly enjoyed messing with their heads on the 'never be alone - go!' stuck record part, where every time she played it (and they couldn't see her) they had to behave like a stuck record too. I think we must have had it about twenty times before she finally relented and moved on, hee). I then recorded
most of the bridge, with thoughts of Em. *grins*
The crazy and fun just carried straight on, with the awesomest thing of the night:
Oasis. Amanda introduced it by saying she'd just shot the video for it recently, and it might possibly be the most insulting video she's ever recorded. Which is intriguing, although she says she's hoping for an Obama victory because otherwise she fears getting kicked out of America for it. So, the best thing about this was that Jason Webley and Neil Gaiman reappeared on stage, one with a guitar and one with a tambourine (and both with mikes) and proceeded to
accompany her (I was laughing way too hard to keep the camera still... you can actually hear me laugh at one point). Seriously effing awesome.
And then, the calm after the storm. A little more chat from Amanda, an explanation of who the Dresden Dolls are and why she was playing some of their songs, and then Mrs O. Which I do love and she performed it very nicely indeed, so that made me happy. But it has, of course, faded in my memory relative to the two songs that were, essentially, the show's real finale.
The first one was introduced by Amanda as her favourite song from her new album. I felt moved to tell biped that it is my favourite too, because obviously this makes me special. I fear to say that when she announced it I may have made some sort of high-pitched woo-oo noise and am surprised biped didn't move elsewhere...it is, of course.
Have to Drive. And it is so beautiful in the way it builds and then sublimes somewhere around the middle section and the bridge. The violin and cello accompaniment did everything in their power to augment the beauty, and I
videoed two sections (there is a lot of crowd noise on this video for some reason. It wasn't quite that bad... or if it was, I was so focused on the song I didn't notice) but chose to simply luxuriate in the rest of it and enjoy the moment rather than divide my attention between the show and the camera). Although the harmony and her voice sound rather rough as hell on the second section of that video, it was truly good live - it was an edge and a lament overlaid on the sheer loneliness of the lyrics.
And then, of course, things got even better. A long instrumental rambling fancy between the three instruments made me suspicious, bearing in mind one of the voicemails that Em left me from the Melbourne show, and I was right - we went into Half Jack, and it was awesome. Again, I mostly chose to revel in this rather than record it for posterity, but you can have a little bit of
See! Jack! Run!
Ahh. So excellent. And from here, we entered the winding down phase of the show... firstly, an energetic mime along to
Umbrella, followed by one those fake leaving the stage things which does at least serve the purpose of letting you know the show is coming to an end. After we cheered and hollered for a minute or so non-stop, they re-appeared and we got Amanda and Jason Webley covering Livin' On A Prayer, which on the one hand is quite strange but on the other hand I had been prepared for by talking to someone who'd seen her in Manchester earlier in the week. It is, you see, lyrically inconsistent within itself, and Amanda seems to want to share this with the world. It's also quite good for a general sing-along. Then Amanda talked to us all for a while, explaining how she'd broken her foot and building up into discussion of the final song, via an anecdote about having filmed the video for it in London only the month before, and having her agents pussyfoot around the idea that she maybe... you know, just maybe... might want to look at changing some of the shots because maybe... she looked a bit chubby in it? Part of the reason I love her as a performer is because that is just something that is never going to bother her, and you know it, and she laughed it off along with the rest of ('who do they think I am, Britney fucking Spears?'). And so, the end - which was, sadly, mimed, but at least she made that very clear (by ironically holding the mike away from her and yet cunningly the song carried on...) and just had a hell-load of fun with it anyway. I assume it was mimed because it's a great finale piece but it would be impossible to do live without a handy brass band - it was, of course,
Leeds United. Which I really do not love very much at all but now cannot deny it is a damn fine gig song and left me feeling superbly alive and enthused at the
end.
And so there we have it. Biped and I took our time moseying out of the venue, picking up my luggage and standing around outside for a bit as biped threw her bicycle to the ground for no good reason and got funny looks. She then cycled back to Hampstead, while I caught the bus, and she beat me. Hmph. We splurged squee onto the board, then sat trying to pull this set list together and relive our favourite bits (and get something other than Umbrella or Livin' On A Prayer stuck in our heads) until finally exhaustion claimed us.
What a truly excellent way to spend an evening.