In typical Palmer fashion, the singer began her gig not at 7pm but at 3, outside The Academy, armed with homous, orange juice and a ukelele. The singer's "ninja gig" took place beside The Hags With the Bags on Liffey Street, giving newcomers to her concerts a taste of what was in store. A chirpy beginning from support band Bitter Ruin quickly gave way to the feminist-pop-punk anthem, Map of Tasmania. As the hundred-strong crowd belted out the chorus of "Oh. My. God. Fuck it!" stragglers began to wonder what on earth was going on - Palmer is certainly a spectacle. Standing on the statue armed with only a ukelele, she powered through a quick little setlist that served to pique the interest of newcomers and send die-hards into a spiral of excitement.
|Things I am not: a photographer. Pic one of two I took...|
Love her or hate her, Palmer is an astonishing live act. I've never seen a set less polished - it seems as though she's letting the crowd dictate what happens. The band chat, and Amanda takes a toilet break halfway through the set. That's not to say the set wasn't electric - just downright bonkers. Songs like "The Killing Type" and "The Bed Song" really benefit from the string quartet, but her rockier songs suffer a little. That goes unnoticed, however, because Palmer is just astonishing live. The raw power of the woman as a performer is enough to take the crowd's breath away, all on her own. Her stories, giggles and intensity totally captivated the crowd, and when she played a new (and remarkably intense) song, you could have heard a pin drop in the Academy.
Palmer is rapidly becoming known for her contreversies, crowdfunding and...well everything but her music. Her set of half covers ("no one can cover Tom Waits!"), covers and stormers from her new album prove that this woman is first and foremost a musician, one that I was privileged to see not once, but twice, in one day.