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.
BBC 6 Music has posted their review of American Doll Posse — and have broken new ground by coining the q-word! Thanks to Marae and Danny for the tip!
Tori Amos, American Doll Posse
Artist: Tori Amos
While the main controversy so far surrounding Ms Amos’ 11th [sic] album is that its first attendant single, “Big Wheel” is getting nil airplay due to the use of the acronym ‘MILF’ in the chorus (don’t ask); the hardest thing to grasp may be the underlying concept. But rest easy, it’s a return to old form on many levels for the the red-headed quirkstress.
To deal with the problematic ‘theme’ first: Tori has adopted the personae of five female characters to speak at various points during the album. The ‘Doll Posse’, if you will. These are Isabel, Clyde, Pip, Santa and err…Tori. All based on Greek archetypes, they allow the album to move between genres and moods with a deftness that may have been lacking on previous work by Amos.
Top of the pack has to be the aforementioned “Big Wheel” which, with its country rock slide, is probably the raunchiest record she’s made yet. Elsewhere the fare tends to vacillate between lighter pop-isms such as “Bouncing Off Clouds” or the more traditional piano and strings of “Girl Disappearing”.
While the innovation of multiple voices is handy, it also leads to a little too much filler in places, with some songs barely extending beyond sketches. However it’s undeniable that American Doll Posse returns Amos to the forefront of a genre which, along with Kate Bush, she defined. We may have newer eccentrics these days such as Joanna Newsom, but Tori Amos was there first. And she’s still pushing her own boundaries.
Reviewer: Jerome Blakeney