Princess Goes, the band spearheaded by the multi-talented Michael C. Hall, graced London with their presence at the EartH theatre in Hackney this past Sunday. The night was charged with the electric anticipation of a band returning in support of their freshly released album.
For everyone seeing the band live for the first time, the burning question is does Princess Goes live up to its theatrical title, and can Hall match the buzz of his acclaimed acting career with his musical prowess? The answer is a resounding yes. Hall doesn’t just shine on screen; the man possesses remarkable vocal chops. Their eclectic mix of tracks is hard to pin down, but the set exuded vibes reminiscent of a fusion between a polished Sisters of Mercy and a slightly less flamboyant Scissor Sisters. Picture the richness of synth sounds blending with dark undertones, interspersed with bright, pop-inspired melodies. Notably, Hall’s foray into falsetto was a highlight.
Princess Goes is not your run-of-the-mill ensemble. Their history is as impressive as their sound. Born from the creative camaraderie of working on Broadway’s Hedwig and the Angry Inch, the trio boasts some significant credentials. Hall, of course, stands out with his iconic roles in Dexter and Six Feet Under, and a musical track record including Broadway stints in Chicago and Lazarus.
Peter Yanowitz, the band’s drummer, boasts a remarkable musical resume. As an original member of The Wallflowers and with significant contributions to Morningwood, particularly the standout hit “Nth Degree,” his musical prowess is evident. He also collaborated closely with Natalie Merchant, playing an instrumental role in her brilliant debut Tigerlily. Yanowitz’s influence is clear in tracks like “Let it Go” and “Blur.”
Meanwhile, keyboardist Matt Katz-Bohen contributes over a decade of experience from touring with the legendary Blondie. Both artists displayed their versatility on stage, effortlessly transitioning between instruments. Katz-Bohen whipped out the keytar for the encore, reminding everyone that some ’80s relics are definitely worth resurrecting.
One may ponder how Hall bridges the worlds of acting and music. Is there a distinct line, or do they merge into a singular form of expressive art? While we may never fully grasp his personal approach, what was showcased on the Hackney stage was undeniably brilliant. Their new record has swiftly become a favourite, consistently gracing the turntables of many, including my own.
Across their 18-song set, several tracks stood out not just for their melodies but for the influences they seem to be channelling. “Come of Age” is a sublime blend of Blondie and Julian Casablancas’s under-appreciated solo material—the kind of track that would feel right at home in a John Hughes ’80s movie. “Shimmer” carries the unmistakable enchantment of Marc Almond, a nod to the synth-pop era. “Jetpack”, a more contemplative number, is brought to life by Hall’s falsetto, reminiscent of the ethereal sounds of Hercules and the Love Affair. And “Beija” is undeniably tinged with a Bowie essence, its guitar-driven crescendo a testament to Hall’s dynamic energy on stage.
The show was truly impressive. Any doubts that prior fame might eclipse their musical talent were dispelled by the time the second song of the set kicked in. Their latest record, Come of Age, stands as the band’s finest and most daring work yet in their relatively short tenure. This stellar album is essential listening, especially for those who appreciate any of the influences highlighted earlier. A fun night all around and a proper celebration for a band that likely poised to break wide open.
