Thanks to the Captain from over at Brainrotting for being my plus-one and holding the camera high above everyone else’s heads.
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There are certain cities where the newly-reunited Dresden Dolls must know they are always welcome. Though, there are bound to be Dolls fans in most urban regions of the US and beyond, the Dresden Dolls, a band known for their theatricality, gender-bending and debauchery, thrive in well-known freak capitals like Seattle and New York. Ergo, it makes a whole lot of sense that the Boston-based band felt comfortable spending their first New Year’s Eve together since their 2008 hiatus in the end-all, be-all of freak capitals: San Francisco, California.
The Dresden Dolls, comprised of singer/pianist Amanda Palmer and drummer Brian Viglione, quietly slipped off fans’ radar after the release of their last album in 2008, taking an unannounced, indefinite break. Palmer went solo while Viglione lent his talents to other groups, and most fans lost hope, but remained on standby in the event of a reunion. In October of 2010, the Dolls announced a reunion tour and very quickly hit the road, winding up at San Francisco’s Warfield Theatre on New Year’s Eve.
YouTube sensations Pomplamoose kicked things off, setting the tone for the evening with a contagious enthusiasm and an arsenal of fun covers that got the crowd, even those in the balcony, moving. Longtime friend of the band Jason Webley made a surprise appearance, staying just long enough to perform his patented “Drinking Song” and get the crowd inebriated in his own unique and “rather economical” way.
A typical Dresden Dolls show is nothing if not festive, usually marked by costumes, chaos, and pre-show performances organized and acted out by fans. Instead, the night’s show played out like a happy homecoming, like old friends reuniting. Ditching the usual showmanship for a quiet entrance, the band tiptoed onto the stage during Webley’s performance. Palmer was dressed for the occasion in gloves and an elaborate bustle, and Viglione wore track pants instead of his traditional face paint and felt bowler.
After welcoming them with raucous, piercing applause, the audience stayed silent, almost reverent for the Dresden Dolls’ soulful version of T. Rex’s “Cosmic Dancer.” From there, it was a revue of the band’s older material. Viglione lounged behind his kit and Palmer sat at her keyboard with legs stretched out at comfortable angles as the two smiled, narrated, and laughed their way through mellower selections from their 2003 self-titled debut and the popular follow-up Yes, Virginia, easing into heavier songs like “Gravity” and Palmer’s “Astronaut” as the night went on. The audience knew the words to every song, some of which were, as of midnight, eight years old—a lifetime in the age of digital downloads.
Most of the evening was casual and relaxed—so relaxed, in fact, that the set list the band had mapped out ran short. Amidst several unsolicited requests from the audience for the Dolls’ version of Black Sabbath’s “War Pigs”, a live standard from their glory days, they began killing time with covers and extended versions of their more upbeat songs like “Mandy Goes to Med School.”
As midnight approached, the Dolls invited all of the night’s performers onstage for a round of “Auld Lang Syne”, led by Webley as balloons rained from the ceiling. The Dolls then quickly launched into U2’s “New Year’s Day”, confetti cannons deploying around them.
Though both midnight and the show itself had come and gone, the audience refused to leave. The two encores that followed were closer to the Dolls’ usual antics, with Palmer ending up manhandling fans in the balcony. At 12:37am., the band finally caved and wrapped with “War Pigs”, to the clapping, shouting delight of the audience. Before exiting the stage, the two took a bow and embraced, and seemed genuinely happy. San Francisco has long been known for taking in wanderers, dreamers, and misfits, and if their New Year’s performance was any indication, the Dresden Dolls will always have a loving family of fans in San Francisco.