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.
The London Evening Standard reviewed American Doll Posse in their April 27th edition, where it headlined their CDs Of The Week column.
Breaking the monotony of paragraph-long reviews, television station NBC4 unexpectedly delivers an extensive review of the album in their DC Scene section of their website. Thanks to Chris for passing the link along!
Completing the triple play of mini-reviews, here’s The Daily Mail’s take on American Doll Posse. This one does not yet appear to be on the web so hanks to Melissae and Lucy for sending it in!
Lucy, with an assist from Luke, also sent in The Mirror’s equally-brief but more approving review of American Doll Posse.
Lucy was the first to point out The Times’ short and somewhat ambiguous review of American Doll Posse.
Thanks to Martin and lucy for passing along links to The Sun’s positive review (4.5 stars out of 5) of American Doll Posse. Unlike Fiona Shepard, the reviewer finds the combination of Tori’s five personas to be a boon to the record.
Rip It Up, a weekly publication in Adelaide, Australia, has reviewed American Doll Posse. For the record, the k-word shows up in the first sentence.
Fiona Shepard reviewed American Doll Posse for the April 27th edition of The Scotsman. She’s quite impressed by the record but a little mystified by the Posse. Read on for the review or read it on The Scotsman’s website.
Thanks to Toni for the link!
Caroline Sullivan reviews American Doll Posse today on The Guardian’s website, giving the album 4 out of 5 stars. (“Folk?” Really?) Thanks, Pete.
It’s ninth-album time and Amos is about as fashionable as carbohydrates these days, but she remains one of the most ambitious conceptual songwriters on a major label. There are five Toris on the cover – warrior Tori, hippy Tori, voodoo Tori clutching rooster – each of whom symbolises a facet of womanhood. The aim of the 23 songs is to reassemble the segments into a cohesive whole, in the hope of “rousing 18-year-olds to wake up and make [political] choices”. It’s a tall order, but she makes an inspiring role model, answerable only to her fierce, funny self. Some of her best work in years is here: a solemn, witty shout-out to the commander-in-chief titled Yo George (“I have an allergy to your policies’”), the echo-laden rocker You Can Bring Your Dog, which bawdily likens people to pets, and the distorted squall of Code Red. There’s far too much, though; cut to 10 tracks it would have been her one of her most significant records.