During tours, we do our best to cover setlists in real-time on Twitter. If you want to tweet a show in, just DM or @ us on the day and tell us to watch your stream that night.
Tori is not presently on tour.
Working with the masters – the dead guys – is informing the musical. Living in those kinds of structures made me realize composition possibilities again, looking at it in a new way. The musical has changed and transformed in the last six months in ways I would have never believed.
Rolling Stone’s Jillian Mapes reports on Tori’s next project: completing The Light Princess musical. Addressing the delays with the confirmation that the musical has to be “better than good,” Tori also talks about how her work on Night of Hunters has changed the music she has written and continues to refine for The Light Princess. The hope for an announcement about the musical’s premiere in 2013 remains. Our fingers remain crossed!
You have to think about the art form. It’s not just opening the closet up and letting it all spill out. It’s opening the closet to start taking things out, and deciding how you want to show people, and to get them experiencing it. Because really, it’s not just about how you showing it yourself, it’s about engaging someone else to open up their closet of emotions.
In a rather lengthy interview for the UK magazine Glamour, Tori spoke to Jenny Selby about everything from Gold Dust to her relationship with England, her thoughts on the past, present and future women in the music industry to, the craft of song-writing, and, yes, Fifty Shades of Grey.
Thanks to RAOF for the tip on this unexpectedly great conversation!
It’s a big catalogue and I wasn’t thinking about representation of albums. It wasn’t about a democracy. It was about songs as individuals as well. I could have made different choices, no question about it, but it was about narrative.
The cornerstone of PopMatters’ Performer Spotlight on Tori was Matt Mazur’s and Joe Vallese’s interview with her. Posted on Wednesday, the day after the release of Gold Dust in North America, the article deals almost exclusively with the new album, from origins to recording to touring. A most excellent feather in the cap that is the Performer Spotlight.
Speaking of which, make sure to check out the rest of the Spotlight which includes a slew of great articles, essays and lists. Here’s what was added in the second half of last week:
There’s a good afternoon’s worth of reading there so cuddle up and down it all in one fell swoop!
Update: Audio of last night’s webcast is now streaming at NPR Music. There’s also a nice slideshow of photographs by Ebru Yildiz and an article by Ann Powers to introduce performance.
Just got back home from (le) poisson rouge where Tori performed with a string octet this evening. The concert was webcast by NPR Music so, on the assumption that folks would be able to listen in live, we didn’t tweet the show — although Ann Powers, who introduced the performance and also interviewed Tori before the show, did. However, word is that many people had choppy audio/video so it is fortunate that NPR will be archiving this webcast, presumably along with that interview, in their Live in Concert in the next few days.
Jump the cut if you want to see the setlist — or hold off if you want to be surprised once the archive is available. It’s all about you, baby.
Over at Gawker, Rich Juzwiak reviews Gold Dust along with the full-length version of Tim Burton’s Frankenweenie in one fell swoop, calling both Tori and Tim, perhaps unfairly, “relics of ‘90s alternaculture.” He doesn’t hate the album, but he doesn’t love it either, saying “there are few surprises to be found.”
Finnish magazine Soundi reviews Gold Dust in its new issue. The bad news is, the whole review is in Finnish, and most of us don’t speak or read Finnish. The good news is, an anonymous birdie translated it for us. Click through the jump to read Petri Silas’ critical look at the collection.
The reviews are in on Tori’s Royal Albert Hall show in London last night, and the often-reserved British press seemed to have nothing but glowing remarks for the gig. The Guardian’s Caroline Sullivan calls it “little short of wonderful.” The Evening Standard’s André Paine says Tori’s “girls sounded better than ever.” Over at Londonist, Doron Davidson-Vidavski attempts to describe it with “a superlative not yet invented for just how good last night was.” Thanks to everyone who sent in these links — there were a bunch of you!
EDIT: This one slipped in late, a review from The Independent (scroll to the bottom).
Well, there were songs that were considered but I didn’t even try. Something like ‘Cornflake Girl’ would lend itself for a big band approach, but if it were not that set-up, I didn’t think it would work because her roots are reggae.
Erin Lyndal Martin interviews Tori for The Quietus, talking about the song choices for Gold Dust as well as Tori’s collaborations with arranger John Phillip Shenale and Metropole Orkest conductor Jules Buckley. Click on over to check out the full Q&A.
Stereoboard offers its review of Gold Dust, finding it “a surprisingly conservative affair that on the one hand gives so much, but on the other could have been so much more.”
Slant Magazine’s Jonathan Keefe chimes in on Gold Dust, giving it 3 (out of 5) stars. He says the orchestra works on some songs — particularly “Flavor” — and not on others, such as “Precious Things.” Swing on over to see his in-depth take on the retrospective.