Peaches cannot be squashed: The shock-pop provocateur still thrives onstage

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At a corner table on the expansive patio of a trendy Frogtown restaurant, Peaches’ blue eyes focus on the hovering waiter.“The vodka is gonna be rested on oyster shells,” he proffers.

“It’s kind of inheriting that briny character, like a martini of the sea.”“Lovely, great.Love it,” Peaches says quickly.“Two of those, perfect,” the waiter replies.Peaches is, as she sings in her new song “Panna Cotta Delight,” “a woman in control of all her holes,” and mistress of a creative life where nothing appears outside of the realm of possibility.

She’s collaborated or toured with Yoko Ono, Marilyn Manson and Iggy Pop, among more underground artists (NYC “drag terrorist” Christeene, the spirit “entity” The Squirt Deluxe) across genres and countries and languages (Yiddish, Italian).But it’s Peaches own music and stage show — ugly-beautiful DIY aesthetics and pulsing Electroclash musicality — where it all comes together in a powerfully freeing frenzy.In 11 songs on “No Lube So Rude,” her seventh full-length album since 1995’s “Fancypants Hoodlum” (released under her birth name Merrill Nisker), Peaches sings, vociferously, what most people are fearful to express out loud.

Topics include (lots of) dirty sex, pointed political rants and pithy observations — she coins SpaceX’s satellites “Starlink anal beads” in one song.The Canadian-born, two-time L.A.dweller and longtime resident of Berlin will turn 60 this year.

She owns it.In song, she name-checks abortion pill mifepristone and rhymes “Roe versus Wade” with “pleather and suede” in “F— How You Wanna F—,” a song that begins: “F— Kavanaugh, I’m a cougar.” Several four-letter c-words are used liberally.She came up playing acoustic folky guitar and singing in clubs in her hometown of Toronto for years.

The future Peaches eventually strapped on an electric axe,...