Puscifer, Auckland NZ, 2017

Puscifer (with special guests Luchafer)

29th January 2017
Vector Arena, Auckland, New Zealand

Review by Sarah Kidd, Photography by Doug Peters.

Choose a side. Red or blue? Choose you must, and do it now! A clever play on Luchadors + Puscifer, Luchafer (divided into two teams, red vs blue) are currently strutting around on stage, appealing to each side of the audience for support. The red team with devilish grins and bold outfits appear mischievous and not to be trusted while the blue team, with highlights of gold, give the impression of being the good guys…but are they? The teams quickly proceed to show the audience that they aren’t just some gimmick; with tombstones and flying drop kicks, they toss each other around the wrestling ring erected in the middle of the stage while egging the opposition on with comedic gestures and insults. At one point a male wrestler rams his fist between the legs of the opposing female, at first she feigns injury, but then defiantly stares him down “Don’t grab my pussy!” and proceeds to crush his hand between her legs as he squirms in pain… artful political commentary one would think given our current times.

Luchafer, being cheered on by a now invested audience are in the middle of an all-out tag team match, when the lights turn red. A smaller Luchador dressed in a black bodysuit, poorly disguised as a waiter (complete with large fake moustache) saunters his way onto stage plying the wrestlers with a tray of drinks, watching in delight as they soon become drunk and stagger about. The lights return to normal and the wrestlers look around, confused as to what just occurred. The black Luchador returns later attempting the same trick, but upon his discovery he instead rips off his waiter disguise and leaps into the ring. Performing some outrageously impressive wrestling moves he quickly decimates both teams, steals the prize key and legs it. The other wrestlers come to and wander off in search of him.

Small screens on either side of the stage begin to play a video of Puscifer character Major Douche, against the backdrop of an American flag, warning the audience to not be a dummy, put away those cell phones and recording devices; chiding those not able to cope without updating their status for a couple of hours. A single spotlight then illuminates the drum kit which has been set up in front of the wrestling ring, the side screens once again light up, this time it’s a video of Billy D, another Puscifer character, talking about acts of sacrifice and the definition of what it is to be human, all the while with a face full of coke and more than a couple of shots of whiskey being downed.

As the members of Puscifer stride across the stage, all eyes fall on the master of ceremonies himself; Maynard James Keenan in full tailored suit, Luchador mask, and Mohawk peeking out the top moves through the darkness. He takes his place behind a 1920s stylised circular microphone, fellow vocalist Carina Round doing the same on the opposite side of the stage. The audience are almost holding their breath, awaiting those opening notes, and as Puscifer begin with ‘Simultaneous’ the audience is theirs.

This is Puscifers first visit to New Zealand, formed in 1995; they have a solid back catalogue of studio albums and EP’s. The current tour is based around their last album Moneyshot; released in 2015 we are treated to a live version of each and every track, they are perfectly intersected with a smattering of songs from albums such as ‘Conditions of my Parole’, and ‘V is for Vagina’.

By the second song of the night, the wrestlers are back on stage, moving amongst the band, the males looking staunch while the women dance sultrily on the sides. This is a well and truly a multi-media theatrical show with Puscifer providing the soundtrack to the story unfolding before us. Maynard maybe the ring leader; the very nucleus of the performance around which all else revolves, but he remains in shadow for almost the entirety of the evening. In complete contrast however, Carina spends most of the performance bathed in a soft spotlight, a subtle nod perhaps to the importance of the female persona in this world, the light balancing the dark in equal measures.

The show is split into four acts. Between each act the members of Puscifer move to their respective sides of the stage as the wrestlers take to the ring and continue to battle it out. Puscifer themselves, perched along bleacher style benches, are as invested as we are in which team will defeat who. Clapping and jeering they point out their favourites.

During Act 2, Maynard addresses the audience for the first time, almost scolding them for not allowing themselves to be carried away by what they are experiencing “And now, a few words…about me! In April I will be 53, last year I had a full hip replacement. And yet here I stand, and you, do not”. The audience immediately begins to rise to their feet, almost as if they had been awaiting permission to do so; the atmosphere of the room instantly moving up a gear.

Maynard and Carina move between the stage and wrestling ring; often performing hypnotic dances, mimicking each other’s moves as they face off across from each other. Carina is undoubtedly Maynard’s equal, at times even outshining him. While the pure power of Maynard’s vocal abilities could never be denied, (let’s face it the man can convey unadulterated emotion in a single note), Carina, resplendent in an angled black outfit, croons through the microphone, covering all manner of octaves as she moves between being completely stationary to almost writhing across the floor, daring the audience to look her in the eye. At times, she shares guitar duties, proving just how multifaceted she is.

During ‘The Remedy’ the wrestlers once again move to the front of the stage, the two male wrestlers standing front and centre as they push and shove each other, providing a living breathing visual of the antagonistic chorus. “Get him a tissue” Maynard sarcastically retorts as the red wrestler, having been smacked in the mouth retreats to the side of the stage in tears.

By Act 3 the visuals playing on the big screen behind the stage have become larger than life. Alternating blue and red wrestling imagery gives way to solar systems and spaceships as Carina takes over full vocal duties on ‘Rev 22:20’ providing an entirely different quality to the song that was originally recorded for the 2007 album ‘V is for Vagina’ with Maynard’s vocals.

But it is the screen projections during the track Grand Canyon that truly takes the audience into a different realm as you are transfixed by images of flying through the Grand Canyon, beautiful sunrises and desert plants flowering in a myriad of colours. Maynard’s vocals soar across the track, the two combining in such a prevailing way that you are truly moved. Maynard, turning towards the screen, as if drinking in its imagery himself, lets the last lines of the song “hope as far as one can see” resonate with each and every witness here. Almost immediately though, we are dashed once again upon the rocks of humanities darker side, with tracks ‘The Rapture’, and ‘Breathe’ (featuring a truly beautiful slow motion fist fight by the two female Luchadors) reminding us of the more animalistic side of the human condition.

Act 4 commences with the track ‘Toma’, Carina removing her microphone from the stand and stalking the stage, singing to both sides of the front row, crouching above them on the bleacher stands her eyes wild. Followed quickly by ‘Telling Ghosts’ a giant visual of an unmasked Maynard stares down at us; the physical Maynard complete with megaphone proceeds to sing through the hand unit as he drapes himself amongst the ropes of the wrestling ring. Ending the show with ‘Man Overboard’ the audience offers their arms, holding them high above their heads as Maynard rasps “all hands on deck…brace your selves”.

The lights dim momentarily, rising to then softly illuminate the performers, only Maynard remaining in the shadows as he thanks the audience for their support, briefly explaining that what we have witnessed is a completely independent project, devoid of record labels or underwriting. He moves on to introduce each member of the band (which includes such musical heavyweights as ex Ministry bassist Paul Barker and A Perfect Circle drummer Jeff Friedl), and it is clear to all the genuine love and respect he has for each member of this current ensemble, especially that of lead guitarist and close friend Mat Mitchell.

As it is the last show of the tour, Maynard informs the audience that we can all just pretend they left the stage for the obligatory ‘encore’ demands and that they will even give us an extra song. The last song he tells us will be a dedication for all those we have lost in the last 18 months, the 2nd song is dedicated to the Womens March and all it stood for, but the first song, well that is dedicated to all the “vampire politicians” and with that Maynard begins to sing a simple yet stirring rendition of ‘Smoke and Mirrors’ his disdain for said politicians coming through loud and clear. ‘Autumn’ ended the encore perfectly, a sombre yet poignant reminder that we will all eventually go winters way.

Maynard had recently spoken about the tour, stating “There are those who know, and there are those who will know soon enough.” Now… we know.

Luchafer performing live in Auckland, New Zealand, 2017. Image by Doug Peters.

Luchafer

Puscifer performing live in Auckland, New Zealand, 2017. Image by Doug Peters.

Were you there at Vector Arena to witness this jaw dropping show? Or have you seen Puscifer somewhere else before? Tell me about it in the comments below!