by: Tiela Halpin, Photo Editor

I swooned with fan-girl excitement when pianist-vocalist Amanda Palmer and drummer-guitarist Brian Viglione of the Dresden Dolls sent an e-mail to fans with a video announcing their 10th “Bandiversary” reunion tour this fall with a Chicago stop at Vic Theatre, 3145 N. Sheffield Ave. I have been a Dresden Dolls fan since I heard “Coin-Operated Boy” in 2004, and Palmer is an artistic role model because of her drive and unwavering dedication to her art.

I never heard of the opening act, Mucca Pazza, until the Dolls announced their tour. The name is Italian for “crazy cow” and happens to be an accurate name.  A 30-piece, Chicago-based “circus punk marching band,” Mucca Pazza is a gargantuan ball of energy. The band entered the venue from the lobby, played through the crowd and ventured into the Vic’s side boxes.

Guitars, violins, slide trombones, a sousaphone and pom-pom-wielding cheerleaders are the tip of Mucca Pazza’s iceberg. It was hard to know where to look. It was a perfect open for the Dolls. The Vic seems to have the same five or six songs on loop between sets; the crowd sang along to songs from “The Jungle Book” and “The Rocky Horror Picture Show.”

The audience was younger than expected—less painted up, more diverse. It comprised of a lot of adults mixed in with young teenagers, peppered with an occasional die-hard fan in full white face makeup. They were all there for the same reason: punk-cabaret.

Soon enough, the house lights went down and the decibel level went up. Palmer and Viglione walked to center stage and greeted the crowd, humbly waving and bowing as the crowd roared in approval. They started the show slow and sweet with an unknown cover, then made their way to theirrespective instruments.

Palmer’s violent and visceral playing matched the incredibly physical drumming of Viglione. It took Palmer three songs before she removed her red robe and played the rest of the show—in true Palmer fashion—in her bra. The resulting uproar from the crowd was deafening.

The light show was simple, and a small amount of smoke provided the perfect atmosphere for the experience. From a song off their first album “A is for Accident” to “Astronaut” from Palmer’s solo album, “Who Killed Amanda Palmer?,” the duo covered all the ground a true fan might hope for. “Girl Anachronism” from their self-titled 2003 release and “Delilah” from 2006’s “Yes, Virginia” were personal highlights, as was when the pair traded instruments for the beginning of  “Missed Me.”

Toward the end, Palmer solicited the audience members for their e-mail addresses, giving a number to text. A fan shouted “Who’s number is that?” Palmer jokingly replied, “That’s Neil Gaiman’s number” (Palmer’s fiance). The show was full of people crying out, “I love you,” and “Amanda’s sexy!” A security guard asked a nearby photographer, “Is that a boy or a girl?”—referring to Palmer. The Dolls invited guest performers on stage during the show. A quick runup from a Columbia student known as Leyla Royale and Chicago singer/songwriter Molly Robinson sang with the Dolls on “Delilah.”

The show ended quickly and seemingly without spectacle as Palmer and Viglione nonchalantly walk offstage. The crowd didn’t move; they wanted more. Viglione re-entered with his guitar and stood center stage as the crowd wondered where Palmer was. From the main balcony, Palmer began the encore comprising “Mein Herr” from “Cabaret” and then the Dolls’ infamous cover of Black Sabbath’s “War Pigs.” They brought the house down. This was the first show I’ve been to in years when the crowd’s singing didn’t overpower the band, which really speaks to the connection and reverence the fans have for their beloved Dolls.

The only thing lacking was “Sing” from the album “Yes, Virginia.” That song feels like the Dresden Dolls’ anthem for their outcast-centric fan base. I can’t really complain because seeing the Dresden Dolls live has been on my concert bucket list for years, and this was an amazing way to experience them.