Somewhere, an actor is adding the role of “hipster in an Amanda Palmer video” to her resume…

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[4.00]

Ian Mathers: The album title is annoying. The politics around the album are annoying. Her touring is annoying. Her self-righteous justifications are annoying. The lyrics to this song are annoying. The structure of this song is annoying. Her faking suicide to prove a point to a drug addicted boyfriend is horrifying. The fact that she thinks that she’s an artist and therefore this is all moot is completely irrelevant and skincrawlingly awful. The fact that she thinks she’s some kind of brave, original artist doing shit that others have done dozens and dozens and dozens and times before is teeth-grindingly annoying. Absent all the other stuff, that last point wouldn’t mean anything — with all the other stuff, it adds up to how much longer do we have to pay attention to her at all?
[0]

Alex Ostroff: I’ve said it before and I’ll say it again: I appreciate when musicians who are in the habit of saying and doing offensive, oppressive, or just plain infuriating things do me the favour of making songs that are, if not actively terrible, at least mediocre. That way I feel less conflicted. “Do It With a Rockstar” is bombastic piano rock, with a pretty great chorus melody, but the whole thing is vaguely reminiscent of British rock-revival haircut indie of last decade, and I (thankfully) didn’t waste much energy or time on that. The mostly snide Britney joke doesn’t help either.
[4]

Iain Mew: I already did the disillusioned with the Amanda Palmer cult thing last time even before she took it to whole new levels and finally started getting the levels of (negative) wider attention she appeared to be after. The straw-manning of this video that tries to paint calling Palmer ableist as being on the same level of ridiculousness as calling her a Klan member is vile, but not surprising. Unlike last time the song is good, if very much in the same hammering vein as “Guitar Hero”, but I wish it wasn’t. Amidst all of the indulgence on her album there are some really outstanding songs. I thought that I would never find myself using the words “guilty pleasure” in seriousness again, but here we are.
[7]

Alfred Soto: So this is what sampling the triumphal part of a U2 chorus sounds like grafted to 2003-era garage rock. 
[3]

Anthony Easton: Is Amanda Palmer the last person on earth convinced that rock and roll, or the sexual potential of rockstar-dom, is still politically transgressive? Did that trope not disappear around the time of the Rolling Stones singing “Cocksucker Blues” or Louise Bogan telling us all to “Shave ’em Dry”? This Xerox of a Xerox of a Xerox of deconstructions of second-wave feminism makes me miss Courtney, who at least was interesting when she was pulling this shit.  
[2]

Katherine St Asaph: If the lyrics I’m reading are accurate, Amanda’s got some colossal (and probably bedazzled) stones to drop “noblesse oblige” in a song released after she, the noblesse, very publicly refused to oblige a cent. Likewise the “hit me baby one more time” reference, which retroactively renders her sniffly “What’s the Use of Won’drin” ironic — backpedaling worthy of Unapologetic. Likewise the crisis in the Middle East — cynics will note how vague she left this — or namedropping INXS in lieu of playing like them. (You get what you pay for.) I’m very OK with women co-opting dudes’ groupie fantasies, and more or less OK with Kristeen Young-lite piano rock, so I can’t dislike this exactly. I just wish it weren’t so much rock ‘n’ troll.
[6]

Brad Shoup: Well, it’s an actual song, with one great internal rhyme (the DVD bit) and an undersung if sufficiently urgent and punchy chorus. Take a step back, and it’s an invocation of Stockholm Syndrome. In the headphones, it’s a nice break from the bullshit.
[6]