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Solos provide finest moments

By David Lindquist
david.lindquist@indystar.com
March 19, 2003

In a stirring episode of social commentary -- for either side of the war debate -- Tori Amos sang John Lennon's "Imagine" to a packed house Tuesday at the Murat Theatre.

She sang in hopes of "a brotherhood of man" accompanied only by piano, her signature sound during the 1990s. It was a special performance of undeniable purity.

But, as Amos has explored new directions as an artist, solo tunes now make up just a fraction of her concerts.

Ani DiFranco, a peer of Amos' in the realm of singer-songwriter cult heroes, has expanded her solo folkie format with horns and keyboards. All things considered, DiFranco's new textures work.

In the case of Amos, extra players supply a layer of clutter for a listener to navigate. In concert, over-amplified bassist Jon Evans and plodding drummer Matt Chamberlain drained any compelling traits from Amos' newest songs.

Tuesday's show began with "A Sorta Fairytale" -- a touch-and-go love story found on current album "Scarlet's Walk." The three musicians, however, mustered more of a dirge than the whimsy conveyed in the song's memorable "arm and a leg" video.

Amos fails to help the cause with enunciation-free vocals that flirt with self-parody.

"Wednesday," a meandering menu of conspiracy theories set to a hoe-down beat, proved to be one "Scarlet" highlight.

And treasured oldie "Cornflake Girl" exploded in three dimensions, thanks to its melody, thoughtful arrangement and a chance for the star to vamp at her piano.

The message seems simple enough: While Amos excels at heavy topics, the songs still need hooks.

Opening act Rhett Miller (***) has turned into a romantic optimist during a solo hiatus from his top-flight Americana band, the Old 97s.

He sang about love, devotion and trust within a batch of clever, plain-spoken yarns worthy of fellow Texan Buddy Holly.