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In Memory Of Violet's Husband, Kim Flint
1969 - 2010

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Keep an eye on our Twitter and Facebook pages since we often post quickie updates there when we're on-the-go.

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.

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Calendar
View full listings.
    Tour Status

    Tori will be touring in 2014 to support the release of Unrepentant Geraldines. The European legs runs from May through June and the North American legs spans July and August. We do not know if additional dates elsewhere will be added.

    Other News Sources
    Current Release

    Unrepentant Geraldines (album, 2014)
    Release Dates:
    May 9 - Germany/Netherlands
    May 12 - UK/France
    May 13 - North America
    May 16 - Australia
    Recent Releases

    Gold Dust (album, 2012)

    Night of Hunters (album, 2011)

    Midwinter Graces (album, 2009)
    Abnormally Attracted To Sin (album, 2009)

    Live at Montreux 1991/1992 (DVD, 2008)

    American Doll Posse (album, 2007)

    A Piano (boxed set, 2006)

    Pretty Good Years
    (bio, 2006)

    Fade To Red
    (DVD, 2006)
    Cherries On Top
    comic book tattoo Comic Book Tattoo (book, 2008)

    News: The Scotsman's Concert Review (September 10, 2009)

    Posted by woj on Tuesday, September 15, 2009 | Reviews,Touring

    Appearing in the September 10th edition of The Scotman, David Pollack’s review of the Glasgow concert critiqued the lack of variety in the performance but recognized Tori’s achievement and talent.

    Thanks to Mr. Anonymous for sending in the link!


    Gig review: Tori Amos

    Published Date: 10 September 2009
    By David Pollock

    TORI AMOS ***
    GLASGOW ROYAL CONCERT HALL

    IT’S 15 years since second album Under the Pink launched Tori Amos into the upper echelon of piano-playing female singer-songwriters. Since then, the world has witnessed a respectable Kate Bush comeback, the rise of Dresden Dolls’ Amanda Palmer as a poster girl for those of a gothic sensibility, and now the emergent popularity of Florence Welch and her Machine. Amos no longer seems like the figurehead of a once sparsely populated style.

    She is, however, a masterful and powerful live act, backed here by a guitarist and drummer. Although there remain Kate Bush-isms in her voice, Amos’s performance defies comparison with almost anyone else out there. Her piano-playing is highly skilled, too, and blessed with a strong theatrical flourish.

    Yet in truth, bar a striking crescendo during Pretty Good Year and the wheeling-on of a Hammond organ for Fast Horse and then Precious Things near the end, her performance here might be best described as one-note – though that note is acknowledged to be one of the sharpest, clearest, most spine-tingling notes you’ll ever hear.

    There was familiarity in Cornflake Girl and stark, emotive drama in the solo Taxi Ride and Etienne (“maybe I’m a witch”, she sang, to a spike of applause, “running through the fields of Scotland”). But rarely was there variety.