Amanda Palmer
20th November 2020
St Matthew-In-The-City, Auckland, New Zealand.
Review by Sarah Kidd. Photography by Doug Peters.
The idea of time this year has been strange to say the least. Both fleeting and simultaneously dragging its insolent heels, memories of events and shows seem harder to pin down to a particular timeframe. Such is the legacy of 2020.
Amanda Palmer arrived in New Zealand in March of this year, her evenings at The Hollywood in Avondale somehow feeling so very long ago now where she joked about being stuck here due to the global pandemic threatning the world. Well as they say, never tempt fate, for that is exactly what did happen; Palmer along with her beloved son Ash and now estranged husband Neil Gaiman soon finding themselves trapped and seeking out shelter in Hastings. A place that the world would later come to realise over the next few months, is one of the safest places to be. Even if Palmer does, by her own admission, find it somewhat boring and full of old men who enthusiastically give her the middle finger everytime she tries to navigate the local roundabouts – badly.
Last night, as part of the superb Elemental Nights series presented by Live Nation, Palmer once again took to the stage, this time with a hybrid show that signalled both the end of her ‘There will be no Intermission’ world tour and the start of her – what will undoubtedly be – rebirth. For as Palmer stated to her audience, she is tired. But like any artist who has come to the end of a particular project, or tour, she will arise again like a phoenix.
Held in the stunning St Matthews in the City church, attendees were presented with rows of seats and a low set stage, an ink black grand piano cradled between the soft beams of light and smoky haze. But following a wonderful introduction by her good friend Jaime, the stage was not where Palmer appeared. Instead, like whiplash, hundreds of heads turned sharply as a voice pierced the room. There, far above the church door stood Palmer, dressed in black, her long fingerless gloves pulled up past her elbows. In silent reverence the room watched intently as she delivered an ethereal version of ‘The Wind that Shakes the Barley’ by Dead Can Dance, her singular voice soaring through the church, uplifted by the natural acoustics.
Unsurprisingly upon its conclusion the room erupted in applause, it was an entrance that very few could pull off and Palmer knows how to work a room. After all, by her own admission, what she does comes from “a deep desire to be seen”. Born in 76’ to a computer programmer for a mother and a physicist for a stepfather, this was a kid of “very literal parents”. But Palmer wanted to exist in a quite different type of world. One where she lived and breathed “metaphor and art”.
For those that attended her shows at The Hollywood, last night was more of an adventure down the path of music with anecdotes as steppingstones from one song to the next. There was still much of the residual darkness that constantly shadows Palmer’s performances, but it was kept within the confines of the music itself. While grateful for her newfound temporary home as the world burns down around her ears, Palmer was obviously weary, the trials and tribulations both personal and not having taken their toll. But as she stood barefooted on stage, ukulele in hand, glass of red wine temporarily placed on the floor, she emanated an energy that came from deep within; ‘In My Mind’ a cathartic anthem for not only herself but her many disciples who laughed heartily at certain lines that now eight months down the track had cloaked themselves in their own irony.
The first half of the evening was packed to the hilt, the time disappearing in the blink of an eye as her enraptured fans hung on her every word. There is most decidedly an element of self-indulgence here, a form of live ‘Dear Diary’ being played out for those who crave nothing more than to know every detail about their idol. It has attracted many a criticism, as have her musings on radical empathy along with her original Kickstarter campaign which has now morphed into a rather impressive patreon account that allows her the freedom to make art as she wishes rather than prostrating herself at the feet of record labels. But is it really that wrong?
It certainly would not be to everyone’s taste, but to the thousands that support her endeavours, her ‘There Will be no Intermission’ shows are dreams come true. Many around the room, cried, laughed, hugged each other, and nodded vehemently in agreement to statements that Palmer would make. It all felt like the right responses when sitting in a church where faith, loyalty and devotion is often the name of the game. Speaking of how she has noticed that local artists, and in fact New Zealand musicians in general are “not good” at asking for help, Palmer had a point. Is it really that wrong to ask those that enjoy your work – in whatever form that may take – to financially support you? To build a safety net under you that allows you the freedom to truly create. Palmer’s patreon is a minimum of only a single dollar a month. Seems insignificant, but multiply that by a few thousand fans and that is one hell of a safety net.
Spoiled with an array of music that included Dresden Doll classics, her solo work and tracks from her latest album, Palmer took the audience on a trip through the full revolution of emotions, from the hilarity of ‘Vegemite (The Black Death)’ to the heartbreak of ‘Voicemail for Jill’, which saw some in the audience openly sob, Palmer herself having to brush the tears from her own cheeks more than once during the evening.
Following an extended intermission to allow everyone to use the limited facilities, attendees were treated to a recent unreleased track only available to her patreons and a cover of Lorde’s ‘Liability’ which when sung by Palmer gave the song new meaning. The deliciously violent and animated version of ‘Coin-Operated Boy’ though was a most decidedly definitive highlight; as was the appearance of Chloe Swarbrick who spoke of changing the narrative for the betterment of all New Zealanders, words one hopes she lives up to.
Finishing with ‘The Ride’ inspired by a Bill Hicks comedy sketch and patreons answers to the question ‘what are you afraid of right now?’ was fitting, the song reminding everyone that life is indeed short, and unpredictable, and terrifying, and wondrous and above all, worth it. So why not enjoy it while you can.
Refusing to take their seats until Palmer returned for an encore, she soon granted their wishes. Armed with nothing more than her trusty ukulele pressed against her bare flesh, Palmer now down to just her jeans and a black lace bralette, ‘Ukulele Anthem’ once again had the room in raptures of laughter. And while rarely a song she plays live any longer, the venue last night commanded it; An Evening with Amanda Palmer concluding with Leonard Cohen’s ‘Hallelujah’ performed on the piano by an emotional but resolute Palmer.
For now, she rests, her love for her temporary home ever growing, her heart still set on returning to America once it becomes safe to do so. In what form Amanda Palmer returns next remains to be seen, but no matter what it may be, it will no doubt be welcomed with open arms.
Were you there at St Matthew-In-The-City for this special gig? Or have you seen Amanda Palmer perform live some other time? Tell us about it in the comments below!
Set List:
- The Wind That Shakes The Barley [Dead Can Dance cover]
- In My Mind
- Astronaut
- Jump (For Jeremy Geidt)
- Mrs O
- The Killing Type
- Vegemite (The Black Death)
- Voicemail For Jill
- Drowning In The Sound
- A Mother’s Confession
- Runs In The Family
- New Zealand Song (Part I & II)
- Unreleased Track
- Liability [Lorde cover]
- Coin-Operated Boy
- The Ride
- Ukulele Anthem [encore]
- Hallelujah [encore]
Note: [AD] Live Nation / Amanda Palmer provided passes to Ambient Light to review and photograph this concert. As always, this has not influenced the review in any way and the opinions expressed are those of Ambient Light’s only. This post contains an affiliate link. If you purchase a product using an affiliate link, Ambient Light will automatically receive a small commission.
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