StrangeLittleTour
New York, NY
October 9, 2001
Updated January 7, 2002
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StrangeLittleTour
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Tori performed in New York, NY on October 9, 2001 at the Beacon Theatre during the 2001 StrangeLittleTour. This was the first of 3 shows in New York. Set List'97 Bonnie & Clyde 1st Encore: 2nd Encore: ReviewsLatest reviews are added to the bottom of the page. Be sure to check the Tori Concert Reviews Forum for reviews as well! From Richard HandalOctober 10, 2001 - Richard called me after the show. The poster of Tori as the Bonnie & Clyde character fell from the curtain at the beginning of the show, so many people did not see it. Tori forgot a line in Horses and played herself back into the song with an improvisation. During "Crucify" there was some weird feedback and Tori at one point stopped and asked Marcel if it was "us or them" and then continued. Tori prefaced "Over The Rainbow" with the standard "Thank Heaven For Little Girls." However, like she did in D.C., Tori changed it to "Thank Heaven For Little Boys". At the end Tori made the crowd roar by ending the song with the line, "Without them what would all the other little boys do". The show started at 9:13PM and ended at 10:53, and was 1 hour and 40 minutes long. Tori's official written set list included "Lust" between "Purple People" and "Hey Jupiter", but she did not perform it during the show. The official set list also did not mention "Thank Heaven For Little Boys". Finally, the table Tori usually has on the stage with 3 selected character portraits was not there, perhaps because the stage was so small. From Tom (Posted to the Precious Things mailing list)Added Oct 14, 2001 - I've noticed a few requests for concert reviews, so I thought I'd contribute my $.02. First of all, the Beacon is a lovely venue. I'd never been there before, but it is just gorgeous. It looks really old, like maybe 1920's. I had second row Loge seats, which turned out to be great. We were almost directly across from Tori and could make out some of her expressions. I highly recommend going to the Beacon for concerts. Rufus was good. I'm not a fan, but he did a good show. I think I'd like to check out his music in the future. '97 B &C: disturbing, powerful, a creepy, fantastic opener. I love the torn curtain and phantasmagoric lights. Can anyone confirm if Tori is actually reciting this live, or is it a recording? It sounded live to me, but I couldn't tell. Tori comes out in this gray or green jacket and pants. The pants end up being split, as later in the show I saw some definite leg. She had fishnets underneath and wore black heels. She came out waved, did a little bow, and went back to the piano. Then: Icicle: long piano intro (I thought it was Mother at first and would've probably died of excitement right there on the spot). Lots of vocalizations and piano witchery. Drunk woman in front of me is bouncing so much in her seat, I thought she would fall off. Enjoy the Silence: nice. didn't seem too different than the CD version. Drunk woman sings way too loudly. She asks how we are and says that you guys are teaching the world many things right now. Says it's a privilege to play for us. I think this is when she told her diaper story Rattlesnakes: awesome! played the piano and rhodes simultaneously and alternately. She slowed this one down somewhat, but also cut loose on the vocals. Cooling: wonderful. Nice lighting (reds and oranges). She skipped the "do I hate what she is" verse as she does on Venus. One of the songs I most wanted to hear. She talked about how she sets things on fire accidentally all the time and that's bad when you have a little one. But she likes to live near the water because the water is nice. She said she wrote the next one while living by the water, loving by the water. Pandora's Aquarium: Tori played this very well and gave the song some real life. The gently moving lights made it feel like I was in an aquarium. BQ/Horses: awesome! She skipped a couple of verses then stopped and said "oh I fucked up." She improved a few lines about a girl, ending with "and she said, 'I got me some horses." Great save. Spring Haze: really cut loose on the piano. I think this girl may be better solo. OK, the drunk woman in front of me practically fucked her boyfriend during this song. She was completely obnoxious and I really didn't need to see a live sex show at a Tori concert. Cool on Your Island: I'd never heard this before and it kicked ass. She played it on the Rhodes. The lights on the backdrop spiraled and turned like ripples. Doughnut Song: started with the "if you say it's over part." Powerful. If I wasnt' sitting I would've been knocked on my ass. It took me three shows to hear this one, but it was worth the wait. Sweet Dreams: played on the Bose. Not too much different than studio version, except it was a little slower with a bit of a jazz feel. Moves over the Wurlitzer. Talks about it belonging to Country Joe and the Fish Crucify: wow! the organ gives this song a really rich feel. She played for a long time between each of the first few lines. In the second verse, she stopped and asked Marcel what the noise was. "Is it us or them?" she said pointing to the audience. Goes back into song. Me And a Gun: I have nothing to add to this. It is as powerful as everyone says. The bright white light really works. Drunk woman's boyfriend says something to girlfriend during this but is silenced by cool girl next to me. Baker Baker: cool. Kind of anticlimatic after Gun. China: played beautifully with a pretty long piano intro. Tori's vocals were angelic. Thank Heaven for Little Boys: eh. nicely played, but would rather have heard one of Tori's own songs. Funny ending. Over the Rainbow: beautiful. A total surprise. I screamed "Merman" right a the beginning, knowing she played the previous song as an intro to Merman at the DC show. Oh well. No Merman came tonight. Purple People: Played beautifully. Hey Jupiter: Played on Rhodes and Bose. The Rhodes gave this song a lot more beauty and power. It sounded a bit like the Dakota version with no drum machines. After-show M&G was a mob scene. I have to say to the blonde girl who body checked me out of the way you are a rude, bad fan. I hope you enjoyed your hug from Tori, knowing that you were pushy and rude and interfered in lots of other people having a good time to get it. Please, please folks, be considerate at the meet and greets. No one has any more or less right to be there than you, and if you get there late and there's a bunch of people in front of you, that's your problem. I swear, if I get body checked at Philly, I'll body check right back! Tori was generous with her time and talked to as many people and signed as many things as she could. I yelled over the crowd, "Thanks for Doughnut Song tonight," and she said "oh, you're welcome." She couldn't hug the boy in front of me who asked for one, so she reached out and rubbed his head. I could've touched her hand, as it was only about a foot from my face. She had a beautiful diamond ring on and I could see part of the set list scrawled on her hand. I could only make out Icicle. Despite drunk woman and body-check girl, I had a great time. More importantly, my cousin had a great time. This was her first Tori show. It was great to watch her be totally blown away by the show. Hope none of y'all were bored. On to Philly! From strange little woj (Posted to Precious Things Mailing List in response to post above by Tom)Added Oct 14, 2001 - i thought the first night was a decent show, but i never really connected with her the whole night. i'm sure some of that was because we were sitting in the right upper balcony which is a significant distance from the stage -- no chance of making out her facial expressions at all (no binoculars here, myst, and i really couldn't move my arms around much because, well, my microphones were attached to my shirt collar...but we don't need to start the bootlegging debate again). some of it was because driving down from connecticut can be a bear (the west side of manhattan was messed up so we had to come down the east side and cross town which is never fun) and, of course, there is no joy in parking on the upper westside. but some of it was tori too. judging from the other shows, the first night's setlist was pretty standard. she played several favorites (cooling, sweet dreams, rattlesnakes, spring haze, pandora's aquarium) and a couple nice reworks (cool on your island and crucify on the wurlitzer) but there just weren't a lot of spine-tingly moments for me. don't get me wrong: she didn't coast through the show, but i thought it was a flat performance. the show's flow was bad too. the few sound issues (which resulted in crucify being interrupted) and forgotten lyrics (which i normally find amusing but, for some reason, her recovery from the terribly-flubbed "horses" didn't work for me), the show felt fairly disjointed to me. on the other hand, the second beacon show was much better. on my part, the drive down was easier, we had enough time to get dinner before tori's set (sorry rufus) and i was also a lot more up for the show since i was expecting/counting on/hoping for a better performance. fortunately, tori delivered (and my spine was tingling like you wouldn't believe). a completely different setlist (featuring here. in my head, take to the sky, a staggering little earthquakes, etienne, josephine, sister janet) with only three overlapped songs (bonnie & clyde, me and a gun, enjoy the silence). her energy level was a lot higher (hell, she encouraged the audience to sing along to talula!). no sound problems and the muck-ups either worked (she repeated the "figure it out" bit from mr. zebra three times) or didn't matter (she repeated one verse in daniel). oh yeha, we had better seats too: fourth row center of the loge, which i think may be the best place to listen to a show at the beacon. i guess we'll find out tonight since we're taking beth's orchestra tickets which means we'll have sat in all sections for all the shows. one can only wonder what the third show will be like. i'm hoping for "god" (which, if you've heard the union chapel recording) is quite lovely on the piano and synth. '97 B &C: disturbing, powerful, a creepy, fantastic opener. I love the torn curtain and phantasmagoric lights. Can anyone confirm if Tori is actually reciting this live, or is it a recording? It sounded live to me, but I couldn't tell. i think it was live (well, i *hope* it was live). seemed to me there were a few lines which she didn't pronounce quite the same as on the album. i like this as an opener as well, but i think it would be a helluva lot more effective if she was *on stage* when the curtain falls and rips right into the second song before anyone has a chance to react. man, that would stop my heart. apparently there was supposed to be a picture of the b&c character visible during this song which wasn't there on the first night. it was there the second night though. Baker Baker: cool. Kind of anticlimatic after Gun. i know what you mean, but think of it as a sort of sequel to gun and it fits better. where gun is a song of healing which confronts the source of the wound, baker is the flip-side of that: a song of healing which deals with the healed woman. personally, i think they really go good together (the fact that she followed gun with daniel on the second night may be my only quibble with the show). After-show M&G was a mob scene. we walked by on our way to the parking garage and noticed the crowd. we wouldn't have stood there at all except that we ran into a couple friends and chatted with them for a bit, right at the back of the crowd. we left well before tori came out though. Tori was generous with her time and talked to as many people and signed as many things as she could. that's really cool. i'm glad she's still doing that. the horde outside the beacon is far cry from the doze or so of us who froze in the november night waiting outside town hall in '92 though. From SueAdded Oct 14, 2001 - Read your review, I was there last night and one thing I thought might be worth mentioning was how Tori addressed the terrorist attacks. She simply said it was a privilege for her to play for us (New York) and thanked us for teaching the world a lot right now. Incidentally, during China, the house roared both times New York was mentioned. From Steve WilliamsAdded Oct 14, 2001 - Just got back from an amazing show. I live a block away so it wasn't too far - sat 8th row from stage :) From J-SAdded Oct 14, 2001 - Prologue: I had supper in Central Park in front of the Alice in Wonderland memorial before the show: a most appropriate place. In Strawberry fields in Central park (not far from the theater), before the show, there was a little gathering in order to celebrate John Lennon's birthday. There where a lot of people singing and stuff which was very cheerful. In the actual theater during the show there where about 5% of the seats that where not taken. Was it people that decided not to come because of the tragic events? I do not know. But allowed me and my friend to sit together. We had a great view from where we were. You already have the set list so I will only make some comments. The show was the best one that I have seen so far (it was my second one). I really enjoyed the new version of Icicle (especially the singing at the beginning) it brought tears to my eyes and the new verses to Doughnut Song was really added to it. Over the Rainbow added to the magic of the evening. It was so silent for Me and a Gun that I the words where clearer than in the recorded version. I found the overall selection very joyful. Overall a great show. Also, thank you for the dent, without it I would have probably figured out only too late that there was a show in New York. From NewsdayAdded Oct 15, 2001 - A review of this show appeared in the October 11, 2001 edition of the newspaper Newsday in the New York area. Thanks to lucy anne for sending it to me. TORI AMOS. Ministering to the faithful. With Rufus Wainwright. At the Beacon Theatre, Manhattan, Tuesday, tonight and tomorrow. Reviewed Tuesday.
TORI AMOS' fascination with mythology is well documented; she name- checks gods the way other rockers and rappers give props to actors and fashion designers. Her "Hey Jupiter" received a gorgeous treatment and a spot of honor as her final Beacon Theatre encore Tuesday night.
What Amos is most successful at, though, is creating her own myth. On stage, she becomes Tori, the red-haired goddess of the dueling pianos, the patron of hordes of devoted fans who turn to her for the strength to speak their minds and live their lives to challenge other myths.
That makes her concerts much more about tending to this myth and connecting with fans rather than drumming up enthusiasm for the new CD, the concept album, "Strange Little Girls," where Amos reworks songs done originally by men and performs them from a female point of view.
She opened with the album's most striking song, Eminem's wife- killing rap fantasy " '97 Bonnie and Clyde," where the narrator takes his young daughter to the lake to help him dispose of his ex-wife's body. Amos' version is chilling on record. In concert, which she performed behind a dark screen that simulated the view from a car trunk, the song was even more upsetting.
Before the crowd could get its bearings, Amos launched into "Icicle," the sex-vs.-religion song that, like much of her music, wraps controversial ideas into soothing melodies.
"It's a privilege to play for you tonight," she said. "You have been teaching the world about so many things." When audience members yell, "I love you, Tori!" She responds, "Love you back!" The give and take between Amos and the audience gives her a lot of freedom. When sound problems began to muddy the hit "Crucify," she stopped and asked, "Should I keep going?" and was greeted with the crowd's screams of "yes."
Though sometimes Amos seems repetitive both in sound and theme, causing a bit of a drag in the middle of her shows, she always comes on strong on the end. This time, she pulled out the a cappella tale of a rape, "Me and a Gun," and clever covers such as "Thank Heaven for Little Boys" and "Somewhere Over the Rainbow." Amos may never see crossover success, but as long as she takes care of her fans, she will do just fine.
Opener Rufus Wainwright may follow the same path, though his winning personality, and stunning songs from his recent "Poses" CD, may let him pull out a surprise. Wainwright is a charmer: After his voice was shakier than usual, straining for air during the opening "Cigarettes and Chocolate Milk," he broke the ice for his songs by joking about his new haircut. He recovered nicely for soaring songs such as "Rebel Prince" and "Grey Gardens." By the time he reached the lovely, downcast "Poses," Wainwright had turned the crowd to his side, as only a great opener can. From the New York TimesAdded October 20, 2001 - Heather Sing was the first to tell me about a review of this New York show that appeared in the October 16, 2001 edition of the New York Times. A Cast of Thousands Perched on Tori Amos's Piano Bench
By JON PARELES
Alone at her piano Tori Amos was a one-woman
crowd when she performed at the Beacon Theater on last Tuesday
night. She was a dreamer, a rape victim, a little girl, a
threatening boyfriend, an abandoned lover, a beauty queen, a
blasphemous Christian, an ancient myth. She was
sweet and remote, cagey and raw, pained and merciless.
While her characters could verge on madness, her
music was under absolute control. Ms. Amos has a classical
pianist's technique, meticulously weighting every note.
And she made her voice plead or scratch, whisper or
sob with a thespian's timing. To her devoted fans
her songs bring the consolation that even the most
bewildering events can be set in order.
Ms. Amos has been riffling through female
archetypes for a decade. Her new album, "Strange
Little Girls" (Atlantic), assembles songs written by
men about women or addressed to them, and none is as simple as a love song.
At the Beacon she started with Eminem's "97 Bonnie
and Clyde," in which a man has his young daughter
help him dispose of his wife's corpse; over a recorded
background of chamber-music strings she narrated it like a
doting parent. And she brought an enigmatic sympathy to Depeche
Mode's "Enjoy the Silence," whose narrator professes love
while warning his sweetheart not to speak. Her own
songs can be more elusive. While her early ones, like
'Crucify," speak directly about a young woman's rebelliousness
and uncertainties, her later ones spin far-flung fantasies.
Some use melodies as concise as lullabies, while
others are rhapsodic, leaping from bruised low notes to
pure soprano heights.
To pull off such idiosyncratic songs takes unwavering
conviction, something Ms. Amos has never lacked.
She merges the calculation of a recitalist with the
intensity of a torch singer, and she made every keening
wordless note sound heartfelt. She even had some whimsy,
singing "Thank Heaven for Little Girls" and substituting "boys"
for "girls," then concluding, "Without them, what
would other little boys do?" It was all part of her
continuing inquiry into what's not exactly the battle of the sexes
but the bafflement as they meet.
On the surface Rufus Wainwright, who opened the
concert, treats desire and death more casually, in
easy-swaying, modernized parlor tunes that hold gently
self-deprecating lyrics. Though he joked as he moved between
keyboard and guitar, the songs came through clearly to an
audience that hung on every word. From Reuters/VarietyAdded October 23, 2001 - The following review of the first New York show appeared as a Reuters news story on October 17, 2001. The review was written for Variety magazine. You can read this review below or at the Yahoo! News web site. Tori Amos revels in gloom
Tori Amos (Beacon Theater; 3,017 seats; $40 top)
By David Sprague
NEW YORK (Variety) - Tori Amos certainly knows how to make an entrance. On
Tuesday night, the enigmatic singer-songwriter kicked off the first of
three Gotham shows on her solo American tour by pitching the Beacon Theater
into total darkness -- a black hole from which emanated the sepulchral
sound of her version of Eminem (news - web sites)'s murder allegory
"Bonnie and Clyde '97.'' It was a fittingly eerie beginning to what would
prove to be a haunting performance.
The stage trappings -- a semi-circle of simple, stretched fabric hangings
that shifted shape with each shift in mood -- were every bit as stark as
Amos' unvarnished performance. She spent most of the 100-minute set seated
at a grand piano, and occasionally slipping off to play one of two organs
situated on the otherwise bare floorboards.
Although ostensibly touring in support of the just-released Atlantic album
"Strange Little Girls'' (which consists of a dozen oddball covers), Amos
focused largely on earlier material -- even going back so far as to reclaim
a long-disavowed ditty from her stint fronting Y Kan't Tori Read.
While not radically revamped, the proffered versions of "Icicle'' and
"Crucify'' -- the latter of which took some white-knuckled melodic swerves
-- both played up Amos' insistent restlessness. The same could be said of
her take on Lloyd Cole's "Rattlesnakes,'' which rose in aching arcs quite
unlike the ones captured on "Strange Little Girls.''
Amos has always been prone to capriciousness as a singer -- leaping
octaves, stretching notes oddly -- but this perf showed her to be palpably
more controlled, capable of coaxing subtly jazzy inflections from "China''
and "Cooling'' and ratcheting up the energy level on "Sweet Dreams.''
The most affecting number -- as is invariably the case when it's slipped
into the setlist -- was the autobiographical rape narrative "Me and a
Gun.'' Amos' a capella near-whisper, virtually drained of emotion, made the
song difficult to listen to but impossible to ignore.
An encore medley of "Thank Heaven for Little Girls'' and "Over the
Rainbow'' (both performed with wistful charm and a total lack of irony)
proved Amos' tonal palette to be broader than one might imagine. Those few
points of wan light pierced the gloom beautifully, more than making up for
the lack of sunshine in Tori's cloudy day.
Amos performs at L.A.'s Wiltern Theatre Nov. 15-17.
Presented by SFX. Opened and reviewed Oct. 9, 2001; closed Oct. 11. From the New York Daily NewsAdded October 30, 2001 - This review of the first New York show appeared in the October 11, 2001 edition of the New York Daily News. Thanks to Megan Palasciano for sending it to me. 'STRANGE' SOUNDS FROM TORI AMOS
ISAAC GUZMAN, DAILY NEWS FEATURE WRITER
Eminem's controversial lyrics have managed to insinuate the rapper into all kinds of strange places, including church pulpits and newspaper editorials. But perhaps the oddest Eminem placement of them all came at the start of Tori Amos' Tuesday-night show at the Beacon Theater.
The leadoff song for her three-night run of sold-out concerts featured Amos breathily reciting Eminem's " '97 Bonnie and Clyde." Featuring a gruesome tale about a man who kills his wife, locks her in the trunk of his car and dumps her in a lake, the lyrics are addressed to the couple's young daughter, who saw everything.
Amos sang the song from offstage, imbuing it with a chilling sense of dread. Something that a rapper intended to be irreverent, funny and grotesquely violent had been transformed into a piece of political theater.
The song is featured on Amos' latest album, "Strange Little Girls," a collection of tunes written by men but sung from a woman's point of view. On Tuesday, Amos performed just two other cuts from the new release, Lloyd Cole's "Rattlesnakes" and Depeche Mode's "Enjoy the Silence."
Like the frequently inscrutable selections on "Strange Little Girls," Amos' live versions did little to explain her intentions in reinterpreting the songs. While her take on "Bonnie and Clyde" possessed a visceral social message about violence against women, "Rattlesnakes" was simply a polite retelling of Cole's tale of a woman frayed by her chaotic romantic life.
Performing solo and accompanying herself on piano and electric piano, Amos focused instead on her early work, drawing mostly from her first three albums. She even acknowledged her earliest incarnation as a neo-metal babe with 1988's "Cool on Your Island."
Now the mother of a young daughter, Amos has reined in some of her more histrionic flourishes. Instead of rubbing herself against her piano, she now simply straddles the bench. While she still traffics in dramatic growls, whispers and soaring crescendos, she relied less on those theatrics and focused on the almost mythological images in songs such as "Horses," "Pandora's Aquarium" and "Doughnut Song."
Amos' newfound sense of simplicity wasn't always successful. "Me and a Gun," Amos' personal, a cappella account of a rape, retained its riveting power. But "Crucify" was so toned down that its normally enrapturing chorus barely stood apart from the verses.
Closing with "Hey Jupiter," Amos again found her emotional center. Mixing personal confession with ephemeral imagery, she found the mark precisely, a trait far too infrequent in her latest work.
E-mail: iguzman@edit.nydailynews.com
Caption: JAMES KEIVOM DAILY NEWS PIANO WOMAN: Amos before the first of her three Beacon shows. From RachaelAdded November 2, 2001 - this was an amazing show. my favorite moments were during horses when the rainbow lights were swinging back and forth so it felt like i was sitting in a cloud and cooling and spring haze which were soooo pretty and especially cool on your island (which felt so REAL for some reason). she's a wonderful performer. The reviews below were taken from the concert reviews section of The Dent Forum and added here on January 7, 2002Review by 655321 i just got back from the 10.09.01 show (my birthday, heh)! i'll do a song-by-song review. oh wait! the security was VERY VERY lax, they barely even looked at me. i had a sweater zipped up and they didn't even ask me to unzip, so i'm thinking if someone tried recording the show, they must've succeeded! no metal detectors, no pat downs, they were just making sure you had no cameras or bottles (?). '97 Bonnie & Clyde > wow! it literally gave me chills hearing her sing this. she does it very angrily, the "don't play with dadda's toy knife honey, let go of it" was especially angry. and the ending with the curtain falling was perfect! Icicle > i'm usually not a big fan of this song, but i love the way she re-worked it. the way she screams out the "i could have, i should have" is brilliant! Enjoy The Silence > i was surprised to hear this one! the way she stripped this song down to a few piano notes works very well. after this song, she did her hellos and said it was a privilige to be singing for us tonight in new york. then she pointed at herself at goes, "new mommy!" and everyone cheered. then she told the same story she had told before about men changing diapers and how women should take that from them, heh. Rattlesnakes > i had heard the live rattlesnakes version from london, and i was hoping she didn't play it because i preferred the studio version, but this performance convinced me it's (almost) as good as the studio. she sped up the tempo compared to the london performance and she did the piano-keyboard playing at the same time. Cooling > nothing too unique about this performance of cooling (seeing as how i'm not a big fan of cooling...), but i just love the ending of it, but some people started yelling before she was done, grr! Pandora's Aquarium > oh wow, i had forgotten about this song and she did it beautifully! she told a story before the song about how she loves water ("water's nice," heh) and how this song was written when she was living by the water and loving by the water. Beauty Queen / Horses beauty queen was awesome, i had never heard it and loved it! she messed up during horses and had to stop! she laughed then improvised about who is "coming out to play" tonight, then went on with "a sailor, a tailor..." Spring Haze > awesome! she did it very nicely, i loved it. during one of the "well i know it's just a spring haze," she put her hand up above her eyes, like if she was trying to "see through the haze." cute! Cool On Your Island > my jaw dropped! i didn't expect it, but was glad to hear it, especially the bridge! Doughnut Song > i freaked out when i heard the familiar, "you can tell me it's over" intro! wow, very emotional performance, and she did a lot of improvising in the middle of the song, during the "come in houston" part, some of the improv-ing seemed very condescending, she even crossed her legs while she sang! Sweet Dreams > i wanted to hear this so badly! i'm glad i did, she had a nice beat going, very fun! i love the "fiiiiiiiire" bit, she was using her chest voice and the back curtain was lit very bright red! wow! Crucify > she went over to the wurlitzer and i was hoping for talula, but crucify was nice. she had to stop mid-way because she was having problems with an echo and asked marcel if it was "us or them?" Me And A Gun > i heard quite a few gasps from people not expecting to hear this. the crowd was extremely quiet, not one person spoke out. the beacon staff and people in the lobby, on the other hand you could hear them laughing and talking quite loudly out in the lobby, but it didn't ruin the song for me. Baker Baker > i didn't use to be a fan of baker baker, but i keep liking it more and more encore one: China > despite popular opinion, i like china and it was a very nice performance. Thank Heaven For Little Boys/Over The Rainbow very cute intro to somewhere over the rainbow! it was a nice performance. encore two: Purple People > i was so not expecting this, nothign special about the performance again, but very well done. Hey Jupiter > perfect ending song. this is another song i had forgotten about, but tori brought it back to life for me! i did see a few denters, but being quite the shy person, i didn't have the nerve to go up to them. perhaps tomorrow -------------------------------------------------------------------------------------------- Review by GlttrGrrl Having been at Sunday's AMAZING DC show, tonight's show had a lot to live up to, but it was incredible nonetheless. There were only 4 or 5 songs that overlapped with Sunday's show. Even Thank Heaven for Little Boys was slightly different than it was on Sunday, ending with "without them what would the other little boys do?" instead of "they grow up in the most unusual ways" I was so happy to hear the Doughnut Song FINALLY and Cool on Your Island was amazing. All of my friends (except for Eric...here in my head is coming, I swear!) heard the songs they wanted to hear. It felt like a special night, and Tori told us how honored she was to play for us. The improv in Horses when she fucked it up was awesome...if only I could remember what she sang! And the Doughnut Song had an intro that went something like "You can tell me it's over" While it was an awesome show, I have to say that I was more than a bit disappointed with my fellow New Yorkers who not only sang along with great regularity (I paid $50 to hear Tori...she's on key, the audience is not), but also could not let her get through almost any song without screaming five billion times. It's hard to savor every note when people are yelling. Me & a Gun was probably my favorite because everyone in the entire place was quiet for once and they basically remained that way through Baker Baker. Add on top of that the fact that the Beacon doesn't seem to be all that amenable to her stage setup...there were numerous problems with the curtains/sheets/whathaveyou in the background not going up right, falling down in the wrong place, etc...it looked really sloppy. It was really cute the way Tori responded to the people who yelled (inevitably) I LOVE YOU TORI...she smiled and said "Love ya back!" cutie -------------------------------------------------------------------------------------------- Review by Suede418 Oh My god.. I just got in from the Beacon.. what a beautiful and mesmerizing show! She was so in control and her vocals were clear, precise and breathtaking!!!! i think "somewhere over the rainbow" and "Cool on your island" were highlights!!! the crowd was very cool!!!! I was in the 8th row and all i can say is way to go NYC!!!! -------------------------------------------------------------------------------------------- Review by Joe (Toriswinter) Well, I'm tired as hell. That was my first ever Tori show...brief comments. first, Rufus. Cute, charming...hated it! I couldn't stand to listen to him frankly. And tomorrow, I plan on missing his part if possible. I kept wishing it was Duncan Sheik up there. lol second, my highlights. B&C was so powerful. It gave me chills and made me appreciate the song even more. Icicle was simply amazing and was the first song to make me cry. Cooling had me struggling to avoid sobbing. It was beautiful beyond words and will hopefully always be my best memory of this concert. Me and A Gun was more "real" than I've ever heard it. Again, I cried. Naturally, Somewhere Over the Rainbow brought me to tears as well. The last highlight for me, though there were a few others, was Hey Jupiter. When she got to the "ooh ooooh" parts I just couldn't hold back the tears. Wow, it was just an amazing show and I feel lucky to have been there. The songs she did weren't really my favorites, but she did them in such a way that they were tough to not like...even China -------------------------------------------------------------------------------------------- Review by Nick (Icayrus) For me, this show was amazing, I was in the second row of the lower balcony and had a great view! She was totally on target tonight and I felt like she gave of herself so much. After she finished Hey Jupiter I could tell that she wanted to go on, but she looked physically and emotionally exhausted from a great show. I can't wait for Wednesday and Thursday nights. It will be a lot of fun. I think Thursday will be the best for me because I am going with a friend that night who has never seen Tori before, so it'll be great! Also, it'll be the last NYC performance (and exactly 1 month after the WTC attacks). Tonights show was amazing with many of the songs the best as I've ever heard them. I was happy to hear Cool On Your Island and Spring Haze. We shall see what tricks we will get the next two nights! EDIT: Two other things I just remembered, in Bonnie & Clyde it really sounded like she said "And help dad with TWO things out of the trunk". Also, Me and a Gun was really powerful tonight with the light making her look really pale and her hair almost seemed to transform to the 80s look. It was kinda eerie. Also, in Doughnut Song she added a part that I hadn't heard before with the Houston part, something to the effect of "If you can plug into it", does anyone remember the exact wording? -------------------------------------------------------------------------------------------- Review by Sharmel All I can say is wow. I met tori at a meet and greet..well she looked in my eyes when talking to me and complimented my hat and then she did Cool On Your Island. I have waited years for that song It was an awsome show, every show and setlist rocks for me, and I met some faboo people. Ya'll know who you are I need a nap....happy tori dreams...I'll be at the show tomorow, probably with my grey cap and matching scarf. And to think..it only cost me 10$ on the street. YEA! -------------------------------------------------------------------------------------------- Review by steve and peter (BowAndTheBelt) Hello all. This is our first post here. Just wanted to briefly share our joy with you. First off, tonight's show was amazing. You've likely read the details by now, so I won't get into them. But before Rufus started playing (i agree, worth missing. sorry) we were at our seats in the second balcony. we could barely see the stage from where we were. Then we saw Joel walking around. HE GAVE US SECOND ROW SEATS!!!! It was so exciting. We knew our seats were bad, but didn't realize just how bad until we got there. So aside from Tori, of course, he totally made our night. Then we saw some nice girls outside that needed tix so we gave them our original ticket stubs. They seemed happy. (They were letting people back in with just the stubs). The only problem, and this has been said before, is the damn singing!!! There was this queeny faggot (it's ok, we're gay, we're allowed to say that) sitting in front of us - the front row!!!- singing the whole time, and screaming at all the wrong times. I mean, come on now. You're in the front row. Tori can practically hear you singing. Is it really necessary??? It's just so distracting for the people sitting around you. Maybe somebody can stand in the lobby at these shows and hand out little flyers detailing concert etiquette. How does that sound? Sorry to bitch, but I had to vent. Also, about the security issue. We weren't checked in any way. We didn't have any bags with us, but at the Bjork show last week (at a different venue) they had those security wand things. This time there was nothing. And there seemed to be a lot of cameras, flashes were going off constantly. Don't know if they'll be stricter tomorrow night though. Anyway, that's all for now. -------------------------------------------------------------------------------------------- Review by agtOrange The show was just GREAT. I arrived very early and ran into a few Denters I met at the Virgin in-store a few weeks ago. There were about 5 or 6 of us waiting for Tori to come out for M&G, but we were told she had already been out and at that time she was in sound check. So we ran to Amsterdam Ave. and listened through cracks in the old doors. She sang "Cool On Your Island", "Pandora's Aquarium", "Enjoy The Silence" and "Donut Song". Before running into the theatre, Tori's bodyguard--I keep thinking his name is Sven for some reason... DOES ANYONE KNOW HIS NAME?--anyhoo... he stepped out to get some air... and I motioned to him to come to me (I was the only one there at that time). He remembered me from the in-store and I slipped him a letter for Tori and asked him to give it to her... he shook my hand and said "Will do!" :-) So--Rufus Wainswright... he wasn't TOO bad. His keyboard performance was a bit sloppy and I think he failed French in high school or college. But anyway--there was a total "rainbow" vibe going on. Rufus, lots of boys in the audience, Thank Heaven for Little Boys, Judy Garland...that whole thing. Lots of burning trees... burning trees...even during the show... everyone was high. I'm surprised security didn't catch on. lol
Yeah she thanked us something like " it's a privledge to play fo ryou guys. you have taught the world so much over the past few days (or wekks or something)" |
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Go Back To The StrangeLittleTour Schedule & Reviews Page Please give me feedback, comments, or suggestions about A Dent In The Tori Amos Net Universe. Email me (Mikewhy) at mikewhy@iglou.com |
