She eased into "Suede" and "Black Dove," then "A Sorta Fairytale" and "Bouncing Off Clouds."Īlthough the second set proved a better show, what lacked from the concert was a sense of adventure that Tori exhibits in her songs.Without the risks of a new take on an old song, or a mash-up medley, Tori's show boiled down to a straightforward review of her repertoire.Not to be too repetitious or nothing…but THE BSTREET BAND has a number of South Florida dates–coming up. Even the gaggle of drunk girls in the front of the concert hall ? at whom Tori repeatedly shot "shut up and listen" looks ? shut up and listened. The showmanship was gone, the voice was pure, and the emotion, so naked in the songs' lyrics, emerged. She visibly let loose, body and voice feeling the music.įor a brief set without her band, Tori's rendition of "Seaside" and a breathy version of "Silent All These Years," was the concert's zenith. Spectators embraced the oozing sexiness that continued into "Pancake," and Tori played into the rise she was giving them.īy the fourth song of the set, "Cornflake girl," Tori was at her most natural. The crowd loved her passion and in return, her performance soared. She seemed to fall into rapture with her music one foot on the ground and the other on the piano bench, she launched into the raucous "Big Wheel" while grinding her piano bench. With a heavy rotation off of her 2002 "Scarlet's Walk" album rather than "American Doll Posse," Tori's voice came through with more confidence and emotion in the second set. Tori waved and smiled, looking into the audience for the first time. With a carrot orange waist-length hair and sequined, blue, one-shouldered catsuit, the artist who emerged after intermission was a vision of camp virtuosity. A weak and wobbly light that didn't hold a candle to the power of Amos' lyrics, which often address religion, sexual assault and personal tragedies. On "Scarlet's Walk," her use of an electric lantern as a prop, swinging from Isabel's left hand while she played the keyboard with the right, seemed gimmicky. With her bassist, guitarist and drummer spread to the corners of the stage, the eye focuses on Isabel ? but gets little in return. Moments of showmanship, like Isabel playing the piano with her left hand and the keyboard with her right on "Sweet Dreams," come off as cocky rather than inspired. Mann Performing Arts Halls, where spectators in the front are close enough to see the details of her sky-high pumps, geometric print wrap dress, and straw-like blonde wig, not addressing the people who paid to see you for the first third of your show seems, well, obnoxious. It may be part of Isabel's "personality," but in an intimate venue like Barbara B. The sedate Isabel, however, is a tough musical pill to swallow.įrosty and uncommunicative with the audience, Isabel set the tone for the first set with "Yo George." the singer-songwriter's anti-Bush anthem off"American Doll Posse," her latest disc.īut the lack of interaction with the crowd was uninspiring. The concept of four personalities ? Pip, Clyde, Isabel, and Santa ? one of whom opens for Tori at each show, is interesting in theory. It was Isabel, one of the signer's four alter-egos from the American Doll Posse album and tour. It was the Tori Amos concert, but it wasn't Tori. Myers Saturday night, lit cigarette in hand, a fringe of white-blond bangs heavy over her eyes.
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