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Legs and Boots: Milwaukee, WI - November 3, 2007

Tori Amos

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This night I heard Mozart in concert wearing one of Picasso's savage faces and singing Shakespeare. The mastery of archetypal nuance is divine. Nobody does it better than Beauty herself.

Tori Amos Returns to Wisconsin For "American Doll Posse"

Having skipped performing within Wisconsin on the Lottapianos (2003), Original Sinsuality (2005), and Summer of Sin (2005) respective tours, it was a joy indeed to even have the opportunity to enjoy Tori's muses in action within the Riverside Theatre this past November, let alone to experience such a beautiful performance. Tailored to nearly perfect fitting, Clyde was most assuredly the most appropriate Doll to unleash upon the crowd, considering the somewhat "conservative" venue of lush seating and chiseled balconies. To add ingenuity to beauty, the more artistic, soft-spoken persona displayed numerous tracks not necessarily part of her normal set list. Gone is "Little Amsterdam", overlooked is the cover "Rattlesnakes" (possibly due to rights issues involving the recording of the gig), and missing are Clyde's own musings on a certain "Girl Disappearing." However, in place of these monumental Amos compositions, the touseled-haired Doll delivered her trademark style via the gorgeously produced, live renditions of the “American Doll Posse” tracks, “Beauty of Speed” and “Roosterspur Bridge”, along with the always astounding “Little Earthquakes”, and one of the album’s subsequent b-sides (and a personal favorite), “Upside Down.” Moving swiftly off stage in her paint splattered frock, accentuated (but, of course) by a pair of high-wedge, platform espadrilles, Clyde left the stage open for her sister, Tori, after a much needed dance by a truly “Professional Widow.” And as the lulls of “Big Wheel” did indeed surface, the cariacture herself strutted to her Bö, glittering jumpsuit and all. Apparently taking a cue from Clyde, TerraTORIes gave in to her gentler whims, with such beautiful pieces as the ballad of seasonal change, “Winter” and the hauntings of “Lust” and “Carbon.” Of course, Tori also knows her core audience does indeed fancy their little light-spritied sprite, which is the only way to properly describe her transformation from sombre bliss, “Strange”, to the warbling improvisational “I F***** This Up!” These changing of colors and attitudes made up the bulk of the American Doll Posse Tour’s song variety, and luckily with these Legs and Boots, one may cherish and caress each moment so special in memory, and now so special in iPod. In either case, any Tori Amos recording is something to behold, but concerts such as this truly make one hope and pray for the day Tori returns to a touring schedule, and for the time she once again returns to the Riverside Theatre.

I loved this concert!

I have seen Tori perform live ten times and was amazed at her performance in my home town at the Riverside. She never fails to turn it up a notch. Everytime I think I've been down this road before, she takes me somewhere fresh. This time the most noticeable change was the reworking of Father Lucifer. Contrary to other reviews, I think this song was meant to start out somewhat rough and then come together much like other Tori songs. The intro leaves crowds wondering what song is being played, and until she sang, you didn't know for sure. I like that she keeps me guessing. I can't get enough of that song in particular. Father Lucifer in my opinion is reborn here. I had to warm up to ADP, but when played live and with a full band - it absolutely rocked! I recommend adding this to your Tori library - and Strange demonstrates Tori's ability to take a mistake and make it fun. I will be watching for a tour in '09 and new music with her new label.


Born: August 22, 1963 in Newton, NC

Genre: Rock

Years Active: '80s, '90s, '00s, '10s

Tori Amos (born Myra Ellen Amos) was one of several female singer/songwriters who combined the stark, lyrical attack of alternative rock with a distinctly '70s musical approach, creating music that fell between the orchestrated meditations of Kate Bush and the stripped-down poetics of Joni Mitchell. In addition, she revived the singer/songwriter traditions of the '70s while re-establishing the piano as a rock & roll instrument. With her 1992 album Little...
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