Amanda Palmer

I don’t normally do live reviews, but for special occaions, it feels appropriate. This, being a more unusual show than most, is one of those occasions.

Background information: Amanda Palmer, singer/pianist/etc., recenty posted to her Twitter that she would be performing a “secret show” in Cambridge, MA, and tickets would be given away via Twitter. Finally, for the first time since I joined the service back in 2007 (I’m old), it’s come in useful! I got a pair of tickets, received the information on when and where the show was to be, and excitedly made my way down there.

The show was being held in a recording studio owned by a friend of hers. It was pretty nice. I’m not sure what recording in there would be like, but for a show space, it was pretty excellent. There were also free muffins, which is a perk I don’t often see at shows. Other bands, please take note of this.

Opening was a band I’d not previously heard of, Walter Sickert and the Army of Broken Toys. They reminded me of a somewhat more upbeat Murder By Death, if MBD’s vocals were handled by the singer from Fake Problems. They had a burlesque poetess, playing the ukelele and telling us all sorts of wonderful things to amuse and entertain. She was an absolute riot. As for the band themselves, I found myself getting really into them. If I hadn’t put all my money into AFP’s donation bucket, I’d have grabbed their album. Alas, I am left only with memories and a vague sense that I should be ordering it from the internet.

After their set, Amanda Palmer came on stage carrying a ukelele, and proceeded to play “Lua,” by Bright Eyes. This may mark the only time I have ever- and will ever, I suspect- enjoy a Bright Eyes song. After chatting with the crowd, she played a song she’d written about the house she grew up in being sold by her parents. Then, she took her place behind the keyboard.

What followed was a good mix of her solo album, Who Killed Amanda Palmer?, and new songs. Being a fool, I didn’t note the setlist (there was no real list; she had a couple of songs she wanted to play, but the rest was crowd suggestions), but I’m pretty sure I didn’t hear any Dresden Dolls songs over the course of the evening, aside from “Girl Anachronism.” There was a lot of chatter between songs; of course, the usual “Ask Amanda” bits (always entertaining), as well as the fact that she’s pretty funny, and enjoys interacting with the crowd. Any other band/performer, I might roll my eyes and think “get on with it!,” but that’s all part of an Amanda Palmer show. She’s typically warm, engaging, and open to the crowd. It’s the polar opposite of, say, a Pet Shop Boys show, where one gets the distinct impression that the show would be exactly the same if the hall were empty. She’s the kind of performer where it’s clear that she loves her fans, and they respond in kind.

Songs I remember hearing are: “Lua,” “[house song],” “Ampersand,” “Guitar Hero,” “Strength Through Music,” “Oasis,” “Trout Heart Replica,” “The Bed Song,” “Girl Anachronism,” and “I Google You.” There are almost definitely things I’m missing. “The Bed Song,” a new song she claimed wasn’t quite finished, and also told us was the saddest thing she’d ever written, lived up to the hype; the lyrics were a downer even for her. That said, the song was great, and I can’t wait to hear it finished and recorded.

I’m really glad I got the opportunity to attend this show. It was great seeing her perform in a more intimate setting that usual- these days, she’s selling out the Paradise Rock Club- and hearkens back to seeing the Dresden Dolls perform at the Iron Horse in Northampton.

Amanda Palmer - Who Killed Amanda Palmer

If you were hoping for a review of some rockin’ punk CD, you’ll have to wait until tomorrow, kids. Maybe. Or whenever I listen to something I decide is really killer, or at least worth talking about. Right now, what’s worth talking about is this here solo debut from Amanda Palmer, most notably of Boston’s own Dresden Dolls, self-proclaimed “cabaret punk” (so I guess I’m reviewing a punk CD. Take that) band.

A little background: the Dolls have been kicking ass at venues all over the damn place since 2001. They gained prominence early for energetic live shows, eventually earning spots opening on national tours for bands like Nine Inch Nails and Panic! At the Disco. After two studio albums- 2003′s self-titled, and 2005′s Yes, Virginia…- and a couple of b-sides/rarities comps, the band has gone on hiatus while the members, pianist/vocalist/songwriter Palmer and drummer Brian Viglione, went off to pursue their own endeavors; Viglione taking a place with the World/Inferno Friendship Society, and Palmer heading to Nashville to record her long-planned solo record with Ben Folds.

Amanda has talked about a solo record for some time now, and it’s finally upon us. The record should feel familiar to fans of the Dresden Dolls; musically, many songs would fit in on Yes, Virginia…, and I’m fairly sure one or two of them have been played live a few times. The most notable change to the sound on the relatively unadorned tracks is that Amanda’s piano is accompanied by Zoe Keating (Rasputina) on cello. See “Ampersand” for an example; the song is just Palmer and Keating. Meanwhile, songs like opener “Astronaut (A Short History of Nearly Nothing)” and “Runs in the Family” sound like a outtakes from the Dolls’ second album. This is in no way a criticism; the band’s output was consistently high-quality, and Amanda keeps up the winning streak here.

After those three relatively straightforward tracks, the music starts reaching out a bit, with a bit of a bounce and horns on “Leeds United.” Speaking of “Leeds,” could someone please explain to me the relation between the title and the lyrics? I know it mentions LU in the chorus, but I really don’t get it. Anyway! “Guitar Hero,” while the title will probably get a giggle from the gamers listening in, is a rocker, and appropriately features East Bay Ray (Dead Kennedys) on guitar. I’d say his contributions aren’t big, time-wise, but when he kicks in, you can’t mistake his playing. Early in the song you can hear the cascading guitar, and it immediately brings to mind the opening to “Holiday in Cambodia.” The album version.

The songs are generally in line with Palmer’s usual lyrical themes. Apparently the songs span from all over her life; the somber, quiet “Strength Through Music” was written immediately following the Columbine shooting. “Oasis,” a natural single candidate based solely on its fantastic channeling of the Beach Boys in their prime, tells the story of a girl who gets raped at a party and has to get an abortion. The juxtaposition calls to mind “Mandy Goes to Med School” with a darker, more unsettling story.

This album isn’t a whole lot different from what one might have expected from a third Dresden Dolls album, to be honest. There are some misses (though nothing like “Me and the Minibar” or “672″ from the Dolls’ albums), but the album hits far more often. My only lasting criticism is in “Guitar Hero;” I love this song for the first… 3 minutes, I’d say, until she starts singing “You’re my guitar HEE-ROOH.” The way she sings “hero” just doesn’t do it for me. But it’s not a deal-breaker, since the rest of the song is killer. At any rate, this album should reassure anyone who might have been concerned following the hiatus of the Dresden Dolls.

Rating: 4 stars