Peter Murphy, Auckland NZ, 2018

Peter Murphy

20th October 2018
Powerstation, Auckland, New Zealand.

Review by Sarah Kidd. Photography by Doug Peters.

“Harder than any man here, more beautiful than any woman.”

Bold statement and one only the ‘godfather of goth’ himself could make and be applauded for – even though Peter Murphy does not see himself as such, believing that goth came after Bauhaus… Either way a funeral procession of black filed its way through the doors of Auckland’s Powerstation last night to witness the last of three New Zealand shows being performed by Murphy and his band. Or as some referred to it; one half of the Bauhaus thanks to the wonderful David J Haskins coming along for the ride.

Local band Daffodils did a fine job of opening the proceedings; with their sound very much inspired by the 80’s/New Wave era they piqued the curiosity of the gathering crowd within the first few notes. And then lead vocalist Theo Spike Salmon began to sing, and heads turned. For one so young Salmon has an astoundingly mature voice and one that has a timbre to it that is quite remarkable. Combined with a striking stage presence and there was soon a crowd gathered in front watching with interest.

Working through a small but well-formed set that included their latest single the quirkily titled ‘A Leo Underwater’ and finished with the catchy ‘Two Angels’, there is no doubt that Daffodils made a lasting impression on an audience with impeccable taste.

When it comes to Peter Murphy, there really is no other artist quite like him. To witness Murphy live is often a life-changing experience. The theatrics, the musical tales of woe and of course the baritone voice that flows effortlessly from his lithe frame, all combine to create a lacuna in time into which you slip and lose yourself for the entiriety of the show.

And tonight was no different.

Collective voices tore at the sky, hailing the king’s arrival as bandmates Marc Slutsky on drums Mark Gemini Thwaite on guitar and the incomparable David J on bass took up their positions. Emerging from the shadows in which he had lurked momentarily Murphy stepped out onto the stage and the room erupted around him. Celebrating the 40th Anniversary of the iconic Bauhaus, the 1980 album In the Flat Field was promised to be delivered in full; ‘Double Dare’ opening the evening in an almost ritualistic style, Murphy the shaman, contorting his body around the almost serpentine rhythms that are punctuated by drumming that happily crosses the borders into the metal genre.

Moving through the album as per the track listing and Murphy only continues to consume all, drawing strength from those around him and pushing it back through his very being, ‘God in an Alcove’ seeing him slip between shadow and light.

In the Flat Field is an album that combines so many elements to create a creature that bristles and writhes simultaneously and live it is no different, the only slight stumble being the rendition of ‘Small Talk Stinks’ which even Murphy admits to later as not being happy with. While David J commands his side of the stage, bass slung low and sunglasses permanently fixed to his face, his gait wide as he slowly strolls in circles; Thwaite who has toured with Murphy previously as well as The Mission and several other high-profile bands personifies a guitar god, instinctively knowing just where to shine.

Murphy himself was in a jovial mood, his sharp wit intact as he in one breath self-deprecated while taking a shot at the ‘blokes’ in the crowd, the fans hanging on his every word. ‘Stigmata Martyr’ unsurprisingly was celebrated ravenously, a small pit of jostling bodies even forming in the centre of the room. Finishing on ‘Nerves’ and the fans serenaded Murphy and co with cascading applause before excitedly preparing themselves for the extended Bauhaus set to follow.

‘Burning from the Inside’ was glorious, Murphy – having obtained a silken red scarf from backstage – once again throwing himself into the theatrics of it all; ‘Bela Lugosi’s Dead’ stalking the room from the edges before pouncing and stamping it’s feet as the crowd cried “undead. undead, undead!” in time with Murphy. From his intricate footwork to his melodica intro to ‘She’s in Parties’ Murphy gave tonight’s audience all he had to give, completely eclipsing his stunning performance in Auckland five years ago.

Following a blinding version of ‘Dark Entries’ to conclude the evening an encore was hotly demanded and given; a cover of Dead Can Dance’s ‘Severance’ one that Murphy has performed for many years now, yet it is still as enticing as ever. A second encore was demanded and again given, Murphy thanking all in attendance and advising that they would be finishing with a “glam” double header, David J. calling it a “glam slam” to which they both laughed – ‘Telegram Sam’ by T.Rex and Ziggy Stardust by David Bowie intersecting perfectly.

Murphy may not see himself as the ‘godfather of goth’, but his title of king remains well and truly intact.

Were you there at the Powerstation to witness this goth magnificence? Or have you seen Peter Murphy or Bauhaus perform live some other time? Tell us about it in the comments below!

Peter Murphy Setlist:

1. Double Dare
2. In The Flat Field
3. God In An Alcove
4. Dive
5. The Spy In The Cab
6. Small Talk Stinks
7. St. Vitus Dance
8. Stigmata Martyr
9. Nerves
10. Burning From The Inside
11. Silent Hedges
12. Bela Lugosi’s Dead
13. She’s In Parties
14. Terror Couple Kill Colonel
15. Kick In The Eye
16. Passion Of Lovers
17. Dark Entries
18. Severance [Dead Can Dance Cover] [encore]
19. Telegram Sam [T. Rex Cover] [encore]
20. Ziggy Stardust [David Bowie Cover] [encore]

Daffodills Setlist:

1. A Leo Underwater
2. Why Don’t You Hold Me
3. Dark
4. Boys
5. We Only Laugh When It Hurts
6. Two Angels

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