News: Charlotte Observer Concert Review (November 14, 2007)

One of The Charlotte Observer’s music critics, Courtney Devores, reviewed the Ovens Auditorium concert in the November 14th edition of the paper. The review is on their website and below.

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Tori Amos: Piano girl plays with rock fire

COURTNEY DEVORES
cdevo@hotmail.com

Tori Amos shows used to be a near-spiritual catharsis, with fans sitting quietly as the object of their affection played usually solo on piano or in a trio.

That was during the ’90s when her tours glided through here or surrounding cities such as Columbia every year or two.

Tuesday’s show at Ovens Auditorium was a different animal.

For one, Amos, who was born in nearby Newton, hasn’t played Charlotte since February 2003. Fans were apparently starved for a performance — as evidenced by their reaction when the 44-year-old redhead took the stage as herself after six songs by one of the five personalities that grace the cover of her latest album “American Doll Posse.”

Before the real Amos took the stage, her brunette alter ego, Clyde, emerged wearing a fitted dress, purple tights, and knee-high boots, beginning her set with the thumping “Bouncing Off Clouds” from “Doll Posse.” Clyde’s set included “Little Earthquakes” from Amos’ 1992 debut and “Rattlesnakes” from the “Strange Little Girls” covers album.

Following a quick change during which Ovens pumped like a dance club as Amos’ band jammed through a remix of “Professional Widow,” the real Amos took the stage, this time in a purple-sequined jumpsuit.

While you might think there’d be little difference between Amos and her wigged counterparts, her energy was completely different the second time she sat astride her piano bench.

The crowd reacted, especially those near the stage, by jumping and clapping with the revival-like beat of “Big Wheel.” It wasn’t enough for Amos though, who later told the crowd, “I was born down the road. I know you people have fire.”

She halted “Wheel,” flew from her bench, momentarily berating the rest of the crowd for not standing, before skipping back into the song.

At first it looked as if she might throw someone out, but it was apparently for show. The crowd obeyed, standing for nearly the entire show. Amos awarded their enthusiasm with old favorites like “Crucify” and “Cornflake Girl” and waxing nostalgic about her youth with “Going to Carolina” during the improv segment of the show.

Despite the hits, Amos’ concert wasn’t for lapsed fans. There was plenty of later material and lesser-known album tracks. Songs like “Marianne” (from 1996’s “Boys for Pele) and the sexy, brooding new track, “Code Red,” stood out.

Those accustomed to the old girl-and-piano format were treated to a few songs in that tradition, but for the most part Amos put on a rock show complete with four-piece band (including herself), colorful laser lights, and methodical dancing.

The minor adult contemporary hit “A Sorta Fairytale” (from 2002’s “Scarlet’s Walk”) appeased fans hungry for something familiar later in the set, but the show was mostly for those that revel in Amos’ whims. The encore of “Precious Things” and “Tear in Your Hand” closed the set with the audience still standing, as if they were afraid to sit down.

Courtney Devores writes about popular music for The Charlotte Observer.