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 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.
Venerable magazine Mother Jones is the final flake in the flurry of Midwinter Graces reviews for tonight. Nikki Gloudeman’s positive review, despite initial misgivings, appeared on November 9th in their music blog, The Riff.
Thanks to Jerry for the link!
Music Monday: A Tori Amos Christmas?
— By Nikki Gloudeman | Mon November 9, 2009 4:00 AM PST
A Tori Amos Christmas album? Seriously?
That was my first thought when I opened Midwinter Graces, a new album out this week from the indie queen. The quirky, moody crooner seems like a strange fit for the wholesome, fuzzy holiday season. Plus, Christmas albums are usually crap (a fact MoJo staffers recently lamented at length).
But I should have known better than to to doubt the seditious songstress. Rather than recording syrupy holiday tunes, Amos has crafted a collection of covers and originals filled with whimsy and melancholy—the musical equivalent of spiked eggnog.
Some of her twists are subtle, like a rhythmic reimagining of the “Noel, Noel” refrain in “What Child, Nowell“—her mashup of “What Child Is This?” and “The First Noel“—or the backdrop of a drumbeat on “Emmanuel.” Others are more pointed, like a lyrical personification of the ivy in “Holly, Ivy, and Rose,” or gothic instrumentals in “Star of Wonder.” Either way, there’s a distinct sense that Amos wants to subvert the conventions of Christmas music, even as she pays them homage.
Amos also retains her lyrical trademark of precious poeticism: Black satin is what I wore / That, and our hearts left on the floor, she laments in “Pink and Glitter”; on “Winter’s Carol,” she muses The summer queen has been in darkness.
The only misstep is “Snow Angel,” a leaden, cheesy ballad that reminds the listener what could’ve been had Amos chosen cliché over imagination. It’s a good thing that didn’t happen.