Amanda Palmer & Friends – Artworks Theatre: January 15, 2023

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Amanda Palmer returned to Waiheke Island to perform at The Island Reunion. The 13th Floor’s Robin Kearns was on the scene.

Here’s his report (and a few photos)

I was about to take the dog out for an after-dinner walk when a chance glance the ticket reminded me this show was on at 6pm. Crikey, some gigs in the city haven’t started till 11. Island time!

On an evening that at last felt emphatically summerish, the Artworks Theatre courtyard was sunny and abuzz with brightly dressed locals. There was a palpable delight that the honorary islander from Manhattan had returned. At a time when venues are struggling, she was not just performing but donating all proceeds to Artworks.

By way of backstory, in early 2020 Amanda Palmer (of the Dresden Dolls) was in Aotearoa for the last four dates of a world tour when the first Covid lockdown was imposed. She then spent the rest of 2020 in Havelock North, subsequently finding her way to Waiheke when she lived for over two years with then-partner Neil Gaiman and son Ash. Here she found kindness, new friends and new songs. All three discoveries were celebrated at this reunion.

After a welcome in te reo by the fine-voiced and even finer-dressed Koro Sciasia (aka Constance Miraj, ‘Celtic Maori Witch and Drag Queen’), the gig began with Amanda playing her signature ukulele and signing In My Mind. To the strumming of the four strings her ironic lyrics elicited laughs ( “I will be the picture of discipline/Never fucking up anything”…). And her own person Amanda certainly is. A model of individuality to inspire us all when we are tempted to follow rather than lead.

She moves over to the upright piano and we were reminded what a stunning musician she is. Her lyrical wit combined with finesse on the keys reminded me a little of Tim Minchin and even echoes of Flanders and Swann whose satirical piano songs were played in my childhood home.

Palmer returned to New York last June and this was her only show during her return visit. “I’m angry at this island because I love you so much. People don’t have to be nice in this world. But I’ve been shown extraordinary kindness”.  And then we heard stories of earning extra cash in her 20s as a casual dominatrix, singing to prisoners in upstate New York and her fraught relationship with Australia.

First guest Aura Torkington offered a set of three heartfelt, sexually confessional songs writ through with youthful angst. Next, Waiheke resident Frankie Hill (one-time lead singer of Auckland 70s band Fatal Jelly Space) played crisp 12-string accompaniment to her songs Constance joined in on the beautiful Days End.

Highlights of Amanda’s second set were Vegemite (The Black Death)  (“I cannot hold a man so close who spreads this cancer on his toast/It is the Vegemite, my darling, or it’s me/You have to make a fucking choice”) and the delightful Coin Operated Boy after which she indicated the Dresden Dolls have reformed, are recoding and may just relocate to New Zealand. “Would that be ok?” she asked. The audience seemed very agreeable.

Palmer closed with a moving reflective song about her unexpected love affair with Aotearoa (“such a complicated place, isn’t it?, not a greener version of Australia after all”) and her gratitude for ,friend Jamie McPhail, promoter of musical performances in small halls. Then,  a new break-up song set at Whakanewha, Waiheke’s regional park. Finally the show ended as it had started: Amanda alone and unplugged offering the impassioned Ukelele Anthem.

Her words reverberated as I finally got the forgiving dog to the beach in the half-dark : “this could be an island without a theatre. No one wants that. Go to shit even if you’re scared of it. Go to music. Any music. Keep theatres alive”.

Indeed. Thanks Amanda.

Robin Kearns

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