Walking into a Dresden Dolls show Sunday was a bit like walking into a dressing room at a circus. Just about anything and anyone can be found inside, collectively forming an atmosphere that suits the makeup-clad Dolls well.
Completing the image at the slightly dingy Middle East basement was the Dolls’ opening band, Inferno, a nine piece mix of ska, pop and ’20s style down to the slightly drunk vocalist in a suit.
The Dolls came on at about 7:20 p.m., opening their show with crowd favorite “Good Day.” The keyboardist and lead singer Amanda Palmer’s voice filled the hall, echoing off the walls as her angst-ridden delivery left a strong impact upon the audience. Combined with sidekick Brian Viglione’s guitar and drums, her voice and keyboard talents created a melodically haunting mix of hate, loss and sorrow.
Releasing the tension for a minute, the Dolls followed up with a new, more up-tempo song, although by watching Palmer’s delivery, the pain was still present.
Although both members tried to put on a stoic front under their white face makeup, their pain came out through their facial expressions.
The pair has a somewhat operatic rock style that suits the Middle East’s open venue much better than more typical clubs. Think Evanescence with more depth to the music and lyrics and a bit of Shirley Manson’s sass from before Garbage went pop.
The intensity continued to build as song after song added to the swaying crowd’s emotion. However, this is not a band looking for crowd interaction. Palmer’s conversational voice was tight and restrained, and she rarely paused between songs for more than a breath, instead staying focused on the music.
The only flaw was the lack of individual tempo within the songs. Each song follows the same format: it starts out slow and gradually builds stronger until a brief lull followed by the final climax. This becomes predictable and strings the songs together into one seemingly long piece. However, the performance remains diverse enough to keep the crowd mesmerized.
The Dresden Dolls manage to bring formality to rock and roll without simultaneously sabotaging everything it stands for. They take on the circus of life and their audience, and they come out scathed but alive. If Palmer asks if we want to hear about her good day, anyone would do well to take a second and indulge in it.
