I’m standing by a bride and a ringmaster when accordion extraordinaire Jason Webley defiantly proclaims “We’re all about to get very fucked, very fast”. And if this is any indication as to how the night will go, I’d say we’re all about to get it good and proper.  

And so it’s Seattle’s Jason Webley opens the show, his accordion expanding and collapsing, inhaling and exhaling, to the resonance of his deep, Tom Waites-like vocals. The audience clap and sing along to his folk tunes as he jerks his head from side to side like a vivacious windup toy. But its Webley’s humour, his interactions with his audience and his overall gift as an entertainer, that prove this show will be dictated by the mutual admiration between both artist and fan.

Brisbane art-rockers The Red Paintings hit the stage next and, despite having their van broken into the night before (the second time it’s happened in Adelaide), the band live up to their ever-growing reputation as one of Australia’s most exceptional new acts. Dressed as Japanese Kabuki artists and Geisha girls their set is a mix of both visual and aural. Haunting melodies and piercing vocals are carried along by the lingering sounds of two cellos, whilst in the backdrop sits a chaos of black and white photography. But the curtains are about to rise for the main attraction.

The Dresden Dolls enter the stage throwing bouquets into a crowd of adoring fans before each taking their place at opposite ends of the stage. The duo open with the heartbreakingly joyous ‘Sex Changes’ and follow with ‘Missed Me’, with Amanda Palmer’s voice as penetrating and whoring as it is utterly embracing. Its punk cabaret at its best as drummer Brian Viglione throws his dripping wet hair back into the air; beads of water hit the glow of the orange backlights.

The show peaks during the Dolls gorgeous rendition of Jacques Brel’s ‘Amsterdam’ a song that again juxtaposes the minimalism of the music with Palmer’s vocal onslaught. The crowd stand breathless as she raises her stubby of Pale Ale into the air and periodically spills its contents all over the floor. An instrumental in which both Palmer and Viglione stare affectionately at one another, demonstrates how genuinely pleased this band are to be here, a sentiment echoed heavily by the crowd.

The return of Jason Webley to the stage sees the band erupting into Bon Jovi’s “Living on a Prayer”, however it’s in an extended encore between Palmer and The Red Paintings lead vocalist Trash McSweeny, that evokes the greatest emotion from the crowd: a seeringly poignant rendition of  Tears for Fears ‘Mad World’.

The Dresden Dolls first visit to Adelaide proves that they have the ability to expose the sunshine and debauchery in even the sleepiest little town. If this is getting fucked, we all got ripped apart. 

The Dresden Dolls Photo Gallery