Read a review of the official bootleg of Tori's April 15, 2005 Chicago performance at the Auditorium Theatre that was posted to blogcritics.org">http://blogcritics.org/archives/2005/10/19/184950.php]blogcritics.org[/b][/url] on October 19, 2005.
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You can read the review online at blogcritics.org or below:
CD Review: Tori Amos - Auditorium Theatre,
Chicago, IL 4.15.05
By Tan The Man
Tori Amos is one of those artists that tours constantly - giving her fans almost nonstop live performances around the world. The concert experience is much different than the CD experience, and loyal diehard fans have been forced to bootleg concerts or buy unofficial concert bootleg copies. Following in the footsteps of Bob Dylan and Pearl Jam, Amos is releasing official bootleg versions of her concerts. Starting with Auditorium Theatre, Chicago, IL 4.15.05, this is the first of a series of six double-disc sets that Amos plans to release. Recorded live during her "Original Sinsuality Tour," each set features live rarities, fan favorites and covers.
The set begins with the very haunting "Original Sinsuality" (from Amos's current album, The Beekeeper), full of sharp piano notes and "sinsual" vocals. "Father Lucifer" is a perfect example of how well Amos's piano playing perfectly compliments her vocals - melodies and tones couldn't be more in sync.
The audience's applause is mixed very well to transition to the next song without any noticeable gap. In a somewhat corny transition, Amos addresses the people way up on the balcony. She pleads with them to not fall - which then leads into the song "Yes, Anastasia" - but not before a short improvisation leading to a certain "Aida" artist.
One thing that can be said for Amos is her knack for maintaining consistency throughout her albums, and her concerts are no different. The same mood and same atmosphere flow throughout which is weird because she mixes the songs ("Parasol," "Barons Of Suburbia," "Cars & Guitars") from her Beekeeper album in with songs from her previous albums. For the most diehard of fans, you wouldn't know that these songs didn't come from the same album because the mood of each song consistently blends in with each other. On the second disc, Amos plays the simple, yet poignant "Cool On Your Island" that is juxtaposed with the sensual and soothing "The Beekeeper." The concert is like sailing while lying in a bathtub full of bubbles and bath crystals.
Although the set is not without its misfires, the amount of "specialness" is limited. A concert set includes dialogue and unique moments, which Auditorium Theatre, Chicago, IL 4.15.05 lacks. Before Amos plays her cover of Jim Croce's "Operator," she speaks to the crowd about how much she likes martinis (which are like "heaven in a cup"). She does a brief introduction to another cover, this time to Joni Mitchell's "Circle Game."
Also, the quality of the recordings is a little too perfect. A concert is filled with many different sounds that don't just come from the stage. You can hardly hear the crowd during the Amos performances, or maybe everyone in the crowd is dead silent while Amos plays (I'd hate to be the one person who sneezes).
Amos bares all in her music, and listening to these bootleg proves that she bares all in her concerts as well. She sums up the concert with the song "Ribbons Undone" and a final hum, which encapsulates her emotions and her love for music.
All six discs will be available exclusively at toriamosbootlegs.com.
