Tori Amos @ Birmingham Symphony Hall – 7th September 2009
The support act for tonight’s show is One Eskimo, unfortunately they were on stage so early that I missed them. After a listening to Blondie for quite a while, the house lights are finally dimmed and the stage is bathed in green. The drums begin enhanced by haunting electric sounds as Tori Amos enters, in a striking outfit, and stands in front of her piano, moving dramatically to the beat, before she commences with Give. This tour is in support of her recent album, Abnormally Attracted to Sin, and the opening track is the first on the set list tonight and creates the atmosphere for the performance. I haven’t seen Amos play for at least ten years, where she always performed as a solo artist; however, tonight she is accompanied by Matt Chamberlain on drums and Jon Evans on bass and guitar, and this brings a different dynamic to the music.
As soon as you see Tori Amos live, you know that she was created to play keyboard instruments. Her talent is transcendent and she draws you into her emotive state as her hands move passionately around the various instruments surrounding her, whilst she gyrates on her stool in her unique and unconventional manner. It takes Give and Siren for you to sit back in your chair and fully appreciate the aural not purely the physical aspects of the show. The third track is Cornflake Girl, which is greeted with applause being one of Tori’s most famous songs, and is performed with as much vigour as her less well know work, yet does little to inspire me possibly due to over exposure. The set continues with Starling and Concertina that leads into the spine tingling Little Earthquakes, which benefits greatly from the addition of drums. Little Earthquakes perfectly demonstrates Amos’ use of dynamics both instrumentally and vocally as the song builds to its crescendo before dying away again.
After Pandora’s Aquarium, which was the least dramatic song of the evening, the set changes to display a Lizard Lounge sign and Tori tells the crowd that her daughter has had to return home to start school, and you can sense that this is quite emotional for her as she has spoken very little so far. The next few tracks are performed as solo pieces, including Sister Janet and Cloud on my Tongue, which the audience listen to intently and is welcomed with a warm response. Amos is rejoined on stage by her band and embarks on Take to the Sky, adding to the beat by banging on her piano at points. Considering this was released as B Side to Winter, it is well received and gets the polite crowd clapping. Following Talula, the recognisable syncopated drumbeat of Precious Things starts and Amos launches into what, for me, is the highlight of the performance. This song is brilliant on record, but seeing it played live demonstrates the true fervour and passion incorporated into it as Amos thrashes around so violently. The last track of the set is Strong Black Vine, in which she illustrates her ability to sing her way out of trouble as her ear piece comes out. After two hours of intensity, Tori Amos leaves the stage to rapturous applause and a number of the crowd rushing to the stage, and after a brief moment, she returns to play Caught A Lite Sneeze and the upbeat, quirky Big Wheel.
Considering she has such a vast back catalogue, Amos manages to have created a set list that incorporates nearly every mood and style that she has turned her hand to; which, in turn, has provided a near sell-out Symphony Hall with a fantastic musical journey led by a phenomenally talented artist.
Review – Toni Woodward
Photos – Steve Gerrard