Amanda Palmer and the Grand Theft Orchestra (live at Koko)

Koko, London
23 October 2012

When I said I’d review this gig, even though I have seen Amanda Palmer several times before, I really didn’t think through what I was letting myself in for.

Let me explain. I pre-ordered the tickets for this show on the first day they were available. I like music, a lot. I like going to gigs. But this was different. I am a big fan of Amanda Palmer. I really wanted to be at this gig. I backed the kickstarter. I’d been at Heaven In September 2011 when the proto-Grand Theft Orchestra had made their first stage appearance in London. I was psyched to be doing this.

And of course this was not just a gig. Amanda Palmer is a true curator of her shows. I’m not trying to use that hipster-faux term in either a derogatory or flippant way. This is art. This is theatre, and, as we know from the title of her current album, Theatre is Evil.

I was excited. I got dressed up. I stood in line and chatted with other fans. Amanda Palmer gigs are like that. People smile and talk to each other in the queue. We stood right by the enormous maroon double-decker tour bus and watched as road crew and band members ferried items back and forth. Even having a moment of applause when Amanda Palmer and her husband, writer Neil Gaiman appeared, looking slightly baffled and bewildered, smiling and hurrying in to the venue, whilst Jherek Bischoff and crew hurried around carrying garments in white and cases of instruments and trying to pretend there wasn’t a host of people staring at them while they were doing that.

Look. Lets just be clear. This is going to be quite long. I’m sorry. A lot happened. As soon as we walked into the heavy red and gold plush of Koko, we were accosted by the funky acid brass sounds of The Horn Dog Brass Band. AFP saw them play in Edinburgh and liked their sound and now they are touring around with the ensemble.

Stationed on the balcony for full viewing pleasure and in an attempt to get some mobile phone pictures of quality (hmm, maybe not) I got stuck staring at the giant glitter ball spinning and casting flickers of gold over the expectant faces. The crowd were expectant, but, of course, Jherek Bischoff, bass player with the GTO and talented orchestrater, didn’t keep us waiting too long. Opening up with a four piece string ensemble comprising one regular and three local musicians, with only three hours rehearsal to get them licked into shape, his own heavy bass sound slickly flowed into beautifully-arranged orchestral swoops, culminating in a lovely rendering of the song “Eyes,” which was sung on his [post=jherek-bischoff-composed-scores text=”album”] by David Byrne. Having seen some of this, and having liked both the vocal and instrumental albums, I expect I’ll be catching some more performances of his soon.

You see, at an AFP show the support will always deserve more than just an honourable mention. Amanda Palmer crafts her fanbase and support acts join the main show and weave magic into what is, in fact, a completely engaging evening, in spite of AFP’s assertions that the evening was quite haphazard. Her inclusive Stolen band felt tighter and sounded richer than many well-rehearsed veterans. Amanda Palmer herself appeared periodically in peaked cap and kimono, swigging wine and reminding us that she was breaking all the rules of climax by not hiding away until the big reveal. She introduced her friend Mali Sastri, whose soaring vocal landed somewhere between breathtaking and terrifying as she floated over the piano like an apparition.

Then it was the turn of the GTO’s guitar and synth genius Chad Raines. His dance band The Simple Pleasure seemed to encapsulate the Bowie-influenced sound of the GTO and something else; not exactly Scissor Sisters, more raw than that. I was left wondering how someone so impish, dressed in pink spangled tights, could carry off so much swagger whilst playing the swanee whistle. But that is the artistry of an AFP gig. She knows what works, and her band are trusted and it was exciting.

When it came to the GTO themselves, it was nothing short of beautiful. Strange and beautiful. There were new songs off Theatre is Evil, rousing the audience with their Grand Theft Intermission (another of Bischoff’s arrangements) and crashing into the driving album opener “Smile,” (pictures or it didn’t happen) and the fearsome energy of “Killing Type.” But also some firm Dresden Dolls favourites, such as the role-swapping “Missed Me,” proving again that the cabaret is the thing, with each member of the band swapping instruments at each verse, with ensuing physical comedy (and marvellous timing). And the wonderful guest violin of Una Palliser on the haunting “Astronaut” (from Who Killed Amanda Palmer) to the crowd-surfing-as-art-form during the melancholy “Bottomfeeder,” complete with full multi-coloured chiffon train/wings. The most graceful crowd surf I’ve ever witnessed.

Special guests included Scroobious Pip performing his “Letter from God to Man,” accompanied masterfully by the GTO. Jen Ewbank’s sax on the compelling singalong of George Michael’s “Careless Whisper” through to the joyous cabaret riot of  Neil Gaiman performing Leon Payne’s “Psycho” accompanied by musical sawchestra, banjo and ukulele complete with more physical comedy from drummer Michael McQuilken. And of course the absolute showstopping final guest Richard O’Brien (no less) in white spandex tights, high-heeled boots and attitude exuding from every pore as he belted out “The Timewarp” in a raucous celebration of high camp. All of this recorded by the ever-present Moshcam, providing a fabulous live loop to the backdrop, a favourite being the closeups on the strings section during the mournful and affecting “Bed Song.”

This show was utterly life-affirming. Everything in it was a reminder that we are here, and we are here to do things. Marvellous, magical things; hauntingly beautiful sad things; things that scare us; things that empower us. AFP, in a sombre moment reading stories from the “In My Room” box, where audience members recorded sad or bad things that had happened to them in their own rooms, finished by reminding the audience that “Every body’s in pain.” Which, whilst true, was also glorious. Take the pain and turn it into something positive. A sentiment rendered only more poignant when AFP tweeted after the show that she had heard of the death of a dear friend of hers, Becca Darling, only hours before going on stage.

This show was so lacking in ego. The driving force was so clearly the desire to make something wonderful in collaboration with others. The rounding up of musicians (oh, crowdsource argument, please don’t) to  join willingly in the triumphal ringing. It all ended with an encore reprising “Want it Back,” shouted through loudhailer from the balcony, and a final curtain call thanking all and every musician for their part in the GTO.

What I love about Amanda Palmer’s vision is the sheer commitment to the performance, meaning that her songs, anthemic enough on record, come across even stronger in a live format, along with a strong fan base, making audience participation something really special. This is rock show as immersive theatre. A wondrous thing and really well worth experiencing for yourself.

-Arwen Xaverine-