The debauched hilarity of these songs rely on Everett’s interaction with the audience, and her borderline-bananas confidence in doing shit like sauntering up to the most uncomfortable-looking of her spectators and burying their head in her cleavage.Īpart from her brazen breaking of people’s boundaries, much of Everett’s show, particularly the gently-spoken, piano-backed monologues, is bolstered by her knack for absurdity. But her Melbourne debut delivers hilariously messed-up speeches (ranging in topics from “flap-jack titties” to “butter pussies”), as well as provides an even better atmosphere for her music. Her timing and half-weeping delivery in the former translated better to TV than the latter, so I was sceptical about how actually funny ‘Pound It’ would be, despite Everett’s vocal prowess.
In that show, Bridget delivered some immaculate comedy acting and bizarre sex-positive anthems.
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Most people will be familiar with Everett from her occasional appearances in Amy Schumer’s outstanding sketch/stand-up series Inside Amy Schumer.
They’re a fitting summary of Bridget’s whole deal, as with ‘Pound It’, she delivers an hour of weird, hysterical, oversexed cabaret and soliloquy, and one of the most radical entries to the comedy festival’s roster. “I’ve got the pussy, I’ve got the power.” These are the pre-recorded lyrics Bridget Everett sings through the speakers after she’s vacated the stage of her show ‘Pound It’.
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