StrangeLittleTour
Washington, D.C.
October 7, 2001
Updated January 7, 2002
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StrangeLittleTour
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Tori performed in Washington, D.C. on October 7, 2001 at D.A.R. Constitution Hall during the 2001 StrangeLittleTour. This was the second of the two shows in D.C. 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 MikewhyOctober 9, 2001 - Before the show, my girlfriend Amanda (Novinha) and I took an all day walking tour of Washington D.C. We saw the White House, the Washington Monument, the Capitol building, Lincoln Memorial, and many of the museums along the National Mall. We were especially impressed with the Smithsonian Piano exhibition, the African-Art museum, and the dinosaur bones at the Natural History museum. It was during our tour that we heard that the U.S. had begun to attack Afghanistan. There was no real sign around the city that something unusual was taking place, but it felt really odd to be in D.C. at this time. Some of the stuff I saw here was very inspirational. However, I could not help but wish that the U.S. could always meet the ideals that I saw around this fascinating city. (This was my first ever visit to D.C.) Then we saw the show. This was my 6th show of the StrangeLittleTour, and I would rate this as my second favorite concert so far. (Orlando remains #1 for me by a small margin.) We were thrilled to hear Josephine, which was a true surprise. Upside Down, Northern Lad, and Raining Blood were also very impressive. However, the most remarkable part of the show for me were the encores. Silent All These Years was outstanding tonight. It is easy for some to dismiss this song since it is one of the more common ones, but it seemed extra special tonight. I felt myself being swept along with the emotion, which indicated that the rest of the encore songs would be really special. Tori then prefaced Merman with Thank Heaven For Little Boys, a short bit which seems to be her version of the old standard Thank Heaven For Little Girls. It sounded so beautiful and was followed by Merman, which is always affecting. Tori began the second encore with 1000 Oceans, and then surprised us all with Honey. Tori just seemed really into these songs and performed with more intensity that usual. She ended the show with the most achingly beautiful version of Over The Rainbow. She seemed to be tearing up during the song, and her facial expressions were priceless. I had to fight hard to stop from crying during the song. While I am usually touched by her shows, this song was extra special. Tori's performance of Over The Rainbow has been so far my favorite moment of the entire tour. For some reason, her show tonight also seemed really appropriate to me in light of recent events across the world. I am not sure why. It was great to see Tori in D.C., where she has plenty of friends and relatives. The city certainly seemed to inspire her this weekend. From Amanda (Novinha)October 9, 2001 - Here are some comments Amanda gave to Toriphile Josh after the show for posting on the Dent Concert Reviews Forum: - After Past the Mission, Tori said the baby is teething. Then she again (as in Orlando) said that men are good at changing diapers and she sees no need to deprive them of doing it. - After Horses, she played something on the piano and then stopped and said "Fuck it, I can't see what's on the floor." Meaning she couldn't read the setlist. Then she saw the setlist and said that she was going to try to remember how to play the next song, but that she didn't think she had played it this tour... then into Josephine. -This Old Man - four verses again, screaming out the fourth verse -Raining Blood - very, very intense -Talula - similar to Orlando. When she got to the "1 plus 1" line that she fucked up in Orlando, she gave a big grin and repeated the line, but she got it right this time. - Silent All These Years - same changes to the bridge as in Orlando - Honey was very beautiful: a very long "tight" on "you always like your babies tight" - Mikewhy's favorite moment of the tour so far was the very emotional Over the Rainbow tonight. This show is so far Mike's and Amanda's second favorite after Orlando. - The show ran 1 hour 45 minutes. From Erinita (Posted to the Precious Things mailing list)Added Oct 14, 2001 - Sorry folks, I'm in a bit of a rush, so I can't go into too much detail. I took notes during the show, here's what I've got.Tori's parents were giving out hugs and kisses and signing programs in the Orchestra before Tori's set. Set List: Siren (a fantastic rendition, played solely on the Bosey) Past the Mission A little chatter to the audience, "Haven't seen some of you in a long time." "The baby's teething." "Husband's are good at changing diapers. And you know, gals, when husbands are good at something, you just can't take that away from them." Sweet Dreams Upside Down Beauty Queen/Horses Josephine (Started in on the piano, then stopped with the following. "Ok, fuck it. I can't read my words that are on the floor." Picks up the lyrics and places them in front of her on the Bosey. "Cheat sheet.", she says. "You know I can't remember anything." "I don't think I've ever done this before." (I'm thinking she meant Josephine.) Northern Lad This Old Man Raining Blood Talula on the Wurlitzer starting off with an "I don't want to lose her now." intro. Forgot some words and smile, had to pause at the "said one plus one.." part, and repeated it again. With much more ad-libbing on Talula to follow. Pretty damn good.Hang around on the blood part quite a bit. "Somebody tell me who this father is." Sung, "Wrapped in my papoose" line three times. I Don't Like Mondays with beautiful purple and pink background lights. Me and a Gun, thank goodness, no cell phones rang. No one yelled out and inappropriate adoring remarks. I watched the parents my from vantage point, although it was dark, it looked as if Dr. Amos didn't move a muscle during the entire performace. He had an aisle seat towards the center rear of the orchestra and was leaning to the right the see around the person in front of him. As I was looking at Tori through my binoculars during MaaG, she seemed to be looking right at me, in the deadpan, trance-like way that only she can do. Her eyes seemed black and beady, almost demonic. When the Jesus line came she leaned back a bit and he face was better illuminated by the light. A beautiful Tori again. More than several people left after she performed MaaG. Was it a catharsis they were waiting for? An unfulfilling expectant tearjerker? After MaaG, Tori exited the stage after knelling and touching hands with fans along the front row. 1st Encore: Merman with a nice little "Thank Heaven for Little Boys" intro. I couldn't help but think of Matthew Shephard, and oddly enough, Rufus. (Who I enjoyed quite well, bought the cd, and had him sign it. Dude is very skinny. He mentioned hanging out at some DC gay strip clubs on O Street. Some amusing onstage banter.) 2nd Encore: Honey (loved it! a nice surprise.) From Gruagach7Added Oct 14, 2001 - When I was walking into Constitution Hall to see Tori for the second time did I expect her to top what she had done the previous night? Of course not. Was I wrong? You bet. Again, like I mentioned in my last review, Rufus Wainwright is one hell of a musician. Even after the concert was over I had Cigarettes and Chocolate Milk stuck in my head. It is truly a pleasure to watch him as an opening act. Not once while he was performing did I wish for him to go away, like I do with most of the people who open for Tori (anybody remember The Unbelievable Truth?). His music is inspiring and I loved seeing him perform. He's pretty funny too. Talked about how he went to O Street and his experience in Washington's gay strip clubs. He also made some off-handed comments that were worth a chuckle. I look forward to seeing him open for Tori in Philly. 97' Bonnie and Clyde was pretty much the same as it had been the night before. Very aggressive and strong. Again, *every single noise* that comes out of Tori's mouth can be heard and this strengthens the strong incredibly. This may be kind of morbid but it is the way you'd expect someone to sound after being attacked and thrown into a truck. Muted, angry, sad and hopeless - it is incredible how well she plays the character of the beaten wife. I don't understand why she has opened and will probably continue to open every show with this song but nonetheless it is quite an experience. Tori strutted on stage after the black, shredded curtain fell. She looked *gorgeous*!! She had on puffed out black pants with slits on the side and, what looked like, a black jacket with sparkles on the cuffs of the jacket and side of the pants. She was emanating beauty. She looked really good last night. For the first show she wore the same thing in this wild, neon green color and, well, ew. It's amazing what a color change can do. Cheers and voluminous applause kept going as Tori began Siren. I was so excited!! Siren solo - whoo hoo!! I had wanted to hear this so badly and then it's the second song she plays! I have been so, so, so lucky this weekend with hearing the songs I have wanted to. I thought Siren solo would be sucky as much as I wanted to see it but out of all the versions of Siren I've heard my favorite is by far is what I heard last night. The piano was fast, the tempo was furious and Tori's singing was flawless. She had the pedal going for the verses but for the chorus (Never was once for a prissy girl...) she let the pedal go and it was all her and no sustain to back up the melody of the song. It fit so perfectly! Her hands were working overtime for that chorus but everything seemed to come together. I couldn't believe I was lucky enough to witness what I was looking at. There was the same feeling of being rushed like the previous night and I wasn't at all surprised when Tori zoomed right in playing some sort of piano improv and then began Past the Mission. Again, another song I had wanted to see! I enjoy Past the Mission solo and there were some new elements that she added. First, the piano improv she played before the first verse of the song was added before *every* verse. The improv was deep and low and very fitting, really intense. Also, for the chorus she went to the Kurtz (again, I don't know if that is what it is called?) and it sounded perfect. Before the "they found a body" lines she sang a lot of improv. I couldn't make everything out but it went something like, "She knows, yes she does. She's been waiting a thousand years. Don't you think it is time? Don't you think?" As soon as she finished Past the Mission she asked us how we were doing and, naturally, we happily roared back at her. She then said something like: "Haven't seen you guys in a while. It's nice to be back here. Anyways, baby is teething. And you know, I found that husbands are very handy people to have around, great at changing diapers. So I figured why take that away from them?" She then began Winter. I am not a huge fan of Winter but I can't tell you how wonderful it was. The lights were absolutely beautiful, the bluest blue igniting the whole stage. Sweet Dreams popped up next. I was euphoric! The stage went bright with neon reds and loud oranges exploding. Tori seemed really into the song and she held "fire" for an extra long time. At one point she practically screamed it and repeated "ire" (yes, "ire" - the second syllable - giving the word an elongated echo effect) over and over and over ago. Intense!! Near the end of Sweet Dreams I thought how cool it would be if she were to play Upside Down next and what do you know - she did!! I couldn't believe that she was playing almost everything I had wanted to hear. And the previous day was also nothing but a string of songs that I had wished to hear. What was going on? Why was I being so fortunate? Anyways, Upside Down was gorgeous (like Tori!). There isn't really much to type about it but it was just wonderful. The lights were, again, on most of the stage an aqua blue, while on Tori spun yellow blocks of light. I almost expected her to play Take to the Sky next as the last three songs (Winter, Sweet Dreams, and Upside Down) were all on the Winter single but, instead, she rolled into Beauty Queen/Horses. I have never had the opportunity to see either of these songs solo and I had always wanted to so I was in heaven with her first "heeeeeeeeee!" Beauty Queen was especially loud and she dragged out many words longer than expected. However, she didn't seem to be to into playing Horses. I felt it was hurried and not much effort was put into it. It was great to listen to, don't get me wrong, but I had the feeling she was just playing it to play it. But what do I know? The lights with this were out there. Sort of like multi-colored neon stained glass that showered both on the audience and on the white shadow boxes she has on stage. It was at this point that she began playing a low hum on the Bosendorfer and the lights on the stage, a really low, deep blue light (blue, purple and red seem to be the featured stage light colors) covered Tori giving off an eerie feeling. I was expecting a dark song. Out of the blue (literally!), she just stopped playing and said, "Okay, fuck it! I can not see," meaning her setlist on the floor. The crowd went nuts and starting screaming, encouraging Tori. It was funny, because this happened the night before also. After she picked up her setlist, and was looking at it, she giggled out: "Cheat Sheet!" Then said something to the effect of, "Well, I am going to try to do this song but I don't think I've done this yet." And the last thing I expected was Josephine but that is what it was!! I was so happy!! My best friend is named Josephine and everytime I hear that song I think of her so the whole time Tori played I had this image of Joei in my mind, especially at the end..."Not tonight...not tonight...not tonight, Josephine..." A personal and sentimental moment for me. The song itself was short but what a surprise! It didn't sound like it does on "To Venus and Back." There were many higher notes played and the melody of the lyrics were sung just *a little* differently. The lights were nice; spinning purple on two of the four white shadow boxes with the back of the stage a sort of white-blue. Dazzling!! Without a pause, she zoomed right into Northern Lad, not a song I am really fond of but, for some reason, probably because it was live, I was able to dive right into it. It also helped I have a person I relate the song too, which made it easier to connect with. There isn't much to say about it. It was simple, quick and fantastic. She played This Old Man again and it was similar to the previous nights performance in the sense that she screamed the whole fourth verse -- and I mean *screamed*. Saturday night she growled the word "ten" but last night she growled the word "man." Unlike Saturday night where she started off the song with free range, the first two verses last night were monotone. Exactly the same melody and tone of voice. The third is where she made the transition from the calm first two verses and the wild last verse. She didn't get up and wiggle around like she did Saturday, either. If I had to pick a song to be played twice between the two shows this would have been one of the songs I would have picked. Again, I was very lucky. :-) I remember the next song was Raining Blood but I can't remember much about it. This is one of if not my least favorite off of the new album so it didn't do anything for me. For the only time in the night she walked over to her "wurly" and began Talula with a interesting improv that went something like: "I don't want to lose her, no I don't want to lose her, not after all these years, not after what we have now, I don't want to lose her, I don't want to lose her..." Also, she had a very minor mess-up when she sang: "he said one plus one equals two," then quickly sang it over as: "*she* said one plus one equals two." Talula on the wurly wasn't spectacular but it is cool to see how Tori reinvents her songs and I admire the way she suited her songs for the solo tour. In my opinion when Tori plays the wurly (which is basically a type of organ, or at least it sounds like one) the song she is singing depends heavily on her vocals and Tori definitely delivered while singing Talula. She did not drag out "Jamaica" like she has done in the past. She said the actual word two or three times over. In addition to that change, just like in Siren when she let go of the pedal for the "Never was one for a prissy girl..." chorus, she did the same thing for the "I've got big bird on the fishing line..." verse and it was great! Her hands were flying all over the place but she never missed a beat or messed up a word. It amazes me how focused she can be while singing and also playing a difficult arrangement but I guess that is Tori for you. Walking back over to where her Kurtz and Bosendorfer are, she situated herself at the Kurtz and went right into I Don't Like Mondays. It was the only song the entire evening that sounded, for the most part, like on the album. This is another song I can't remember very well. The lights were whitish-blue again and the volume of the Kurtz (which also sound similar to an organ) seemed to be higher during this song. There isn't much else I can write about Me and a Gun that I didn't write in my review for Saturday night's show. The only slight difference was that there was not total silence when Tori began. Quite a few people clapped and there was much more picture taking going on *during* the song, which I thought was totally ignorant. One note: I had my binoculars with me and the facial expressions she makes during that song, well, I can understand why people where taking pictures even though I don't agree they should have been doing it. Her eyes seemed to be rolled up in her head, she almost looked like a zombie. It was frightening. Her one hand was simply lying across her lap and hanging limp as if in defeat. I don't know how she sings that every night but the effect it has is overwhelming. How anybody could not be affected while watching her sing that song is beyond me... After Me and a Gun I was hoping for Somewhere Over the Rainbow, another song I had desperately wanted to hear. Instead she began Time, a poignant and appropriate song to play in Washington. Again, it was the blue lights, a little darker and deeper than with the other songs. Her voice was impeccable; it couldn't have been anymore clear or heartfelt. It took her a little while to come out for the first encore. For a moment I was scared she wasn't going to be coming back out but, of course, I was wrong. She immediately sat down and played the opening notes for Silent All These Years. The crowd went psychotic!! The volume of the cheer for that song was, literally, deafening! I understand because I, too, love that song very, very much and can't say I wasn't a little misty eyes as she played. The bridge was dramatically different. She usually sings very high but she didn't raise her voice until the "one more causality" line. Instead of saying, "Will I still be waiting for somebody else to understand?" she sang, "how long until I understand?" Also, instead of "and the orange clouds" she simply said "clouds." The lights during the bridge were also different than the rest of the song. Through the song they were reds and oranges but during the bridge they were orange and green, earthy colors. Magnificent!! After Silent All These Years drew to a close, she tapped a few higher notes on the piano and I automatically recognized the song as Merman. I was stunned!! I started clapping and then she stopped and I felt like an idiot because I thought I had been wrong about the song. Instead, she sang, "Thank heaven for little boys..." and the amount of beauty and feeling that went into that intro was incomprehendable. I was crying my eyes out (again!). Most of the intro was just her voice. She only added piano in at certain parts. She ended with, "they grow up in the most unusual ways..." and she drew out "unusual" and started tapped the beginning keys for Merman. That intro gave Merman ten times the power it usually has for me. "Who could ever say you are not wonderful?" combined with "They grow up in the most unusual ways..." it just couldn't have gone together any better. The lyrics for the two songs fit each other so perfectly. I am genuinely shocked she has never done this intro for Merman before. It was so overwhelmingly breath taking. You have no clue how badly I wanted to see this live and, yet again, my wish was granted only to have it topped with a once in a lifetime intro. I must have been a really good boy this year. Finishing Merman, she left the stage. The second encore began with Tori coming back on stage to the screams and hollers of a totally satisfied and awed crowd. Loud and loving it! She walked over to the Kurtz and began playing 1,000 Oceans. This and Raining Blood were my least favorite of the night. She played a portion of 1,000 Oceans on both the Kurtz and the Bosendorfer but it didn't add very much. After seeing these two shows, I am not fond of the Kurtz. It is just too low and I can't really hear what she is playing. The only song I liked hearing on the Kurtz was I Don't Like Mondays. The last thing I expected, especially to follow a song like 1,000 Oceans, was for Tori to turn to her Bosendorfer and begin the notes to Honey! This is my second favorite Tori song under Baker, Baker. I could not believe I was hearing this!! I have wanted to hear this song solo for the longest time and, viola!!, here it was and it was amazing!! A great growl when she belted out "tight." Tori seemed very much into playing this song. She spat it out like she meant every word and you could hear the vengeance in her voice. The lights were very cool for this. Red-violet circles and curves surrounding the shadow boxes on the stage. And, what do you know, the last song of the night was the song I had wanted to hear from the beginning - Somewhere Over the Rainbow. I don't know why she was playing almost everything I had wanted her too or why I was so fortunate to be there for this amazing concert. I didn't know anything but how incredibly grateful I was. Obviously, Somewhere Over the Rainbow was extremely sad but it oozed with hope. And she sang the "and the dreams that you dare do dream really do come true" lines twice!! Everytime I have heard this song on a bootleg or on the Hey Jupiter EP or wherever she has only sung that line once. That line makes the whole song worth listening to for me. I was bawling my eyes out by the time she ended and I knew, was totally positive, there was no way I was going to get a better concert in Philly or Wallingford. That doesn't bother me a bit. These concerts, this experience, was so unbelievable I couldn't have asked for a better weekend. From The Journal (A newspaper in West Virginia)Added Oct 15, 2001 - Joey DiGuglielmo wrote a review of the second Washington D.C. show for the West Virginia newspaper The Journal. (I m not sure which edition of the paper the review appeared in.) STRANGE LITTLE CONCERT
By JOEY DiGUGLIELMO
MARTINSBURG - Give Tori Amos her trademark Bosendorfer piano and watch her take off. That's all she needs. A Fender Rhodes and a Wurlitzer add to the proceedings, but this was a one-woman show.
Her current "StrangeLittleGirls Tour" is the first time in several years that Amos has performed alone on stage, providing all her own instrumental accompaniment. Her second Washington concert at the DAR Constitution Hall Oct. 7 (**1/2 out of four), proved again that the simple union of Amos and a keyboard is enough to furnish popular music with one of its most powerfully mesmerizing sounds.
Sardonic pixie Rufus Wainwright got the evening off to an impressive start. His almost-self-conscious stage presence and hysterically world-weary between-song banter proved a canny contrast to his beautifully written and executed chamber pop.
Moving back and forth from keyboards to guitar, Wainwright soared through a remarkable nine songs in just over 30 minutes. With his strong, but slightly off-kilter voice, Wainwright gave an eloquent, left-of-center beauty to minor hits like "Cigarettes and Chocolate Milk" and "Poses," the title track from his new album.
Just as entertaining though, were his musings on the Washington-area gay stripclubs and death ("There's so much more to life than death," he quipped profoundly at one point.) And when one audience member complimented him on his shoes, he deadpanned, "They're old and filthy and they stink."
Another standout from his set was a performance of "Compliante De La Butte," his contribution from the "Moulin Rouge" soundtrack, on which he convincingly delivered the French lyrics with a fragile tenderness.
Amos' set opened oddly, but arrestingly, as her recording of Eminem's "'97 Bonnie and Clyde" played. It was lifted ver betum from her interesting, but pretentious new covers album, "Strange Little Girls." The only thing on the stage was a shredded black curtain and an eerily illuminated photo of Amos in character as the dead wife who narrates the song in her version.
It seemed odd that Amos would play a recording instead of actually performing the song, but when she did appear, after the dramatic demise of the curtain, she was greeted with a spontaneous standing ovation.
Dressed resplendently and looking ravishing in a sparkly, black suit with her long red hair hanging poker-straight halfway down her back, Amos looked both radiant and demure as she sat down and started the churning, minor-keyed "Siren."
Though not one of her most well-known songs, it turned out to be quintessential Amos as it found her straddling the piano bench in her trademark style (she pedals, curiously, and slightly obscenely, with her left foot).
Seeing how Amos would present this new album was interesting, as it's an unorthodox collection of covers all written and previously recorded by male artists like Neil Young, Lou Reed and John Lennon. In the album's packaging, Amos dons a different "look," (i.e. with various wigs and makeups) for each song.
Would she show up as various characters? Would she explain how the idea for the album came about? Would she talk about why she covered the songs she did? Would she address the war that was breaking out in Afghanistan while the concert was occuring? Would she mention the terrorist attacks as she has done in the MTV spots that have been running?
The answer to all these questions? No. Only three of the songs from "Strange Little Girls" were performed (though, with "'97 Bonnie and Clyde," four were represented). Despite such a new approach to, not only making an album but to making a covers album, Amos offered nary a word by way of explanation.
And despite the fact that the president had announced U.S. attacks only hours before the concert, and the fact that the venue was mere miles from the Pentagon, Amos stuck, almost totally, to the music. It seemed odd. Inappropriate, even.
There was one fleeting, indirect mention of her daughter and husband, and a little schtick about not being able to read lyrics she had taped to the floor, but for the rest of the show, Amos stuck with the music, much of which was achingly intense, soul-shaking, transfixing - and a little too much of the same thing.
Amos' canon is dotted with playful, whimsical, sometimes up-tempo songs like "Crucify," "Cornflake Girl," "Professional Widow" and "Raspberry Swirl," none of which were represented. Even the fairly lively "Talula," which was played, was delivered in a near-comatose manner, muted as she accompanied herself on a Wurlitzer. It practically drained the life's blood right out of the song, though she did come sassily to life on the zany bridge.
There was one show-stopping anomoly with the stark and raw "Me and a Gun," but the rest of the show was comprised almost exclusively of ballads. Of course, there's a lot of variation under that umbrella, from the silly, but strangely beautiful, reading of "This Old Man" (as in, "he played one/he played knicknack..."), a cover of Slayer's apocalyptic "Raining Blood" to the new life she manages to breathe into "Over The Rainbow."
But the whole show just felt too calm. Too nice. Too beautiful. Too gentle. That reservation did, admittedly, make the rare, vigorous moments resonate with a power they may have lacked in a more raucous show, but I could have used a little more variation.
Part of that may have been dictated by the instrumentation. "Raspberry Swirl," for instance, would probably have sounded ludicrous sans percussion (it's a house-flavored club workout on "From The Choirgirl Hotel"), but too much of this concert was mired in a sticky-sweet tar pit of balladry.
Variety notwithstanding, Amos sounded great. Her voice rang out with a hall-quaking clarity that was more grandiose and arresting than it sounds on her recordings. All the quirky vocal flourishes Amos incorporates were utilized this night from the full-throttle wail, to the scratchy, hanging-in-the-balance passing tones, to the warbling vocal rubato to the deep throaty growl to the gasping-for-air breathlessness. Her idiosyncratic delivery, so deliciously eccentric, is, perhaps, the most original, innovative singing style going on in popular music today.
Though her singing could hardly be called inhibited, live, Amos sounds even less restrained than she does on record. She takes a greater liberty with the material, stretching lines and phrases apart, making up new words, ad-libbing, leaving things out: it makes for a thrilling, who-knows-what-she'll-do-next concert experience.
The wildly unpredictible set list added to that, from out-of-nowhere b-sides like "Sweet Dreams" and "Upside Down," to early singles like "Winter" and "Past the Mission," to more recent album tracks like "Josephine" and "Northern Lad." Amos is reportedly varying the set list radically from night to night on this tour, which she has the liberty to do without the constraints of a band.
And Amos playfully reimagined the intros to several numbers by coyly unleashing the songs with identification-effacing new openings.
The whole thing sounded wondrous. I have never in my life heard such rich, full sounds come from a piano as came from Amos' Bosendorfer. Naturally, it was amplified, but the sound was amazing. Deep oceans of power came forth from the lower end while the crystalline upper half had a prism perfection to it that glistened like a gem in direct sunlight.
Adding drama were Amos' playing techniques. Mid-song on several tracks she rapidly flipped around on her piano bench and played one section of a song on the Fender Rhodes, then moved back to finish it on the piano. On "1,000 Oceans," she even played both simultaneously (the keyboards were facing each other).
Even with the sometimes dry pairing and pacing of the evening, it was not without its moments, several of which were exquisitely beautiful.
-Journal music critic Joey DiGuglielmo can be reached at 263-8931, ext. 136 or living@journal-news.net. The reviews below were taken from the concert reviews section of The Dent Forum and added here on January 7, 2002Review by pdjennings Hello All Your friendly pager-happy toriboy here Yes oh yes.... tonight was THE night to be in DC. (not that last night wasn't wonderful... i mean, Daniel!!, come on!! yayay!!) Josephine followed by Northern Lad KICKED MY ASS. WOOOHOOOOO There were LOTS of rumors about Butterfly flying around.... she'd written it on her hand at the M&G. It would have definately fit tonight. Siren was IN-FREAKING-CREDILE solo..... OMG... that woman slays me. It was a straight hair night for Tori, with a really NICE, professional looking pant-suit kinda thing. Dark.... with red stockings. She looked very Wall Street! Hello to everyone i met.... Tempest, Askre, Luminous, Watercolor, Andromeda, Evvie, Mikewhy & Novinha, ACaseOfYou, & everyone else i forgot to mention. This might've been my #1 of all the shows i've seen. -------------------------------------------------------------------------------------------- Review by jon snow Great, great show.....
Merman was definitely the high-lite for me... it was so beautiful and emotional, with the "Thank God for Little Boys" intro...
She was in great form tonight - in my opinion better than last night. 1000 Oceans was particularly beautiful. And Siren was great too...
Not much to say, other than another great show!!! And YAY for Merman
1.I didn't come to the show to hear anyone sing but Tori. Unless it's evident that everyone is singing along, thus making it a "sing-along," your singing is not acceptable (unless it is so quiet that I cannot hear it.)
So I was fortunate enough to recieve a backstage pass tonight in DC for Tori's show.
Let me just add how BEAUTIFUL she was tonight.. allthough she is ALWAYS beautiful...HELLO she IS Tori. Tonight.. OMG... She had on a Black "business suit" (?) type outfit, with a little FLARE at the bottom.. cute little number, open top with the exception of one button to keep certain things private!!! Bell-Bottom TYPE pant legs, with the exception that the OUTTER part of the oant leg was split up to mid-calf, the inside part had pretty glitter/sequins. Nice cute skimpy flats, probably felt like slippers to her. I wish I had a camera, but after reading about how "TIGHT" security was on last ngihts reviews, I figured.. 'why bother'. But OH were you guys wrong... security was very laid back and even let us go up to the stage the 2 times Tori approcahed it, I was very happy, allthough I didn't get to touch her hands...but.. I still have Philly to do so... OK, if you have read this entire thing..thank you. I pretty much gave you play by play of what happened and all that, so if you weren't THERE in person.. I hope you feel like you were there by reading this post... goodnight all and...
* SWEEEEEEEEEEE-EEE---EEET DREAMS * |
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