Massey Hall

Unrepentant Geraldines Tour

Date	August 08, 2014
City	Toronto, ON
Venue	Massey Hall

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Setlist

(Thanks to @BernieMarsiglia and @NOTECAPS for sending the setlist to us.)

Parasol
Curtain Call
China
Caught A Lite Sneeze
Beauty Queen/Horses
Icicle
Indian Summer
Past The Mission
Invisible Boy

Lizard Lounge

Free Falling (Tom Petty) / Building A Mystery (Sarah McLachlan)
A Case Of You (Joni Mitchell)

Bliss
Beauty Of Speed
Wild Way
Sweet The Sting
iieee
Cornflake Girl

Encore

Sugar
Wedding Day
Take To The Sky

Reviews

Gerald says:

An amazing show. During icicle, when the rays lights were shining towards the audience and was slowly moving up towards the ceiling, it was otherworldly.

A note about some concertgoers:

1. An obnoxious man kept yelling throughout the concert. During the encore, he pushed his way to the front of the stage, and was spoken to by a lady. If you are reading this, GROW THE FUCK UP and conduct yourself accordingly.

2. To the two guys who were sitting next to me, just because you are a casual Tori Amos fan, it doesn’t mean you have the right to be speaking to each other throughout the show. If you want to talk, LEAVE so that you do not disrupt those around you who are trying to hear the music. Seriously, are you two in kindergarten?
Dalbir says:

I’m so glad I was able to catch Tori at Massey Hall yesterday (a very last minute decision but ended up with an amazing view of the stage). She seemed in good spirits after playing three tour dates in a row – I don’t know where she gets the energy!

Highlights:
Curtain Call – one of my fav of her newer tracks
Caught a Lite Sneeze – the crowd really seemed to get into this.
Beauty Queen – a much more nuanced and drawn out intro to Horses
Icicle – the lighting scheme in conjunction with this song was beautiful
Indian Summer – one of my favs
Invisible Boy – surprisingly the most moving moment of the show for me
Free Fallin/Building a Mystery – Brilliant! The highlight of the night
A Case of You – gorgeous for such a last minute replacement. This is the best version I’ve heard.
Sugar – Great vocal form
Maybe I'm the Afterglow... says:

I went to a concert the other night. A concert I had been looking forward to for months. A concert by my favorite musician, and—no exaggeration—someone I believe to be one of the most exciting, interesting, unique, fabulously wonderful beings who has ever lived or will ever live. A woman who has saved my life with her own life and work, who continues to enrich my life with meaning and depth. A woman whose intelligence and feeling have educated me here on this plane of existence, have expanded my own sense of the possible and the pleasurable. Nothing could ruin this event for me.

Does this seem too much, too sentimental an attachment? But what else is art for, but to move and shape us? And how can we not come to love those who shape our lives with such care and devotion and generosity as Tori has shaped so many of ours over these many years? Does she have to stand for hours at each meet & greet and sign our CDs and do her best to honor our requests and hug us and remember so many of our names and stories and witness our tears and hold a space for our sorrow and joy with such composure? No, and few artists do. Few have the strength or the force of will. She has fought for me—not personally, but for people like me—when it was not popular or profitable, and for that she has my gratitude. She has challenged and educated me with the integrity of her work when it would have been so much easier to make radio-friendly records and crank out cookie-cutter singles one after another, not sonic novels about 9/11 and 21st century song-cycles and concept albums about the binds and binaries of womanhood, and for that she has my respect. It’s not cool to admit that you love someone or something so much in these hipster-days, but I am unabashed. The woman has made my life better than it would have been without her, by far. I love her. I love the song-girls. They light the way.

Now, being a single person who has such a very intense affinity and abiding love for Tori, I went to the concert alone, and happily so. I’m aware my love of her is so encompassing that I enter a state of enraptured communion with her the moment she appears onstage, anyway, so I may as well be alone with her (so to speak). And I’m not ashamed to do public things on my own; there is no embarrassment in being single. But, being on one’s own, with a single ticket (and an excellent one, thank the fickle Ticketmaster-forces), one never knows who will be seated next to one. I was on the center aisle, so my left side was no concern; who’d be seated at my right? A mystery.

The person who arrived at my right was the stuff of waking nightmares. This person was not simply annoying; this person was an affront to my existence and the existence of anyone who has any respect for the personal space and agency of others. He could not sit still (this was an indoor, sit-down concert in a beautiful theater); he was up and down, back and forth to the lobby, the restroom (I wonder why? Note: sarcasm). He banged the seat-backs, he shook the seats until they seemed they would come unscrewed from the floor, he was manic. In the midst of the concert, with everyone else in the performance hall seated and listening attentively, he got up to stand in the center aisle, moving about as if he was directing a photo shoot, so that he could take camera-phone pictures, until security came and told him to sit his ass down. He could not stay silent; he yelled—by himself, not accompanied by others—at inappropriate moments (that is, not during raucous applause between songs, but in the middle of the songs themselves, even tender ballads, when everyone else is listening gratefully, quietly); he screamed, he howled (at a concert where such behavior is neither welcome nor warranted, neither aids the ambience nor informs, in any desirable way, the mood), he repeated catchphrases popular with the fan community of Britney Spears (no lie). He was oblivious to the annoyed, angry stares from many, many others—indeed, he was oblivious to all others.

Far be it from me to dictate what another should or should not do or be able to do with their body, or to impede upon their already circumscribed agency. But when the choice of another begins to erase, to trump, my choice, when the choice of another begins to make my choice moot, then there is a problem. I wanted to enjoy this fantastic concert—and I did, I did; my mind was being expanded and changed beautifully by the music itself. But I also did not want to have to spend any portion of my energy trying to keep this obnoxious, selfish buffoon out of my field of attention. (I know this may seem like a whining, whinge-ing quibble, but let me attempt this analogy: it was as if someone had entered a house of prayer and began to scream and throw themselves around with no regard for the sanctity of the proceedings for the rest of us in attendance. For many of us who love Tori, anywhere her music plays becomes a sacred place; it means so much to so many of us. I mean to say, this is not some random rock concert; no mosh pits, no head-banging, no drunks spilling their cups of beer all over the venue. No standing, even, until the encore, except for the oft-deserved standing ovation. We’re not talking a festival atmosphere or Mötley Crüe, here. In fact, on another occasion some years ago, Tori stopped in mid-song from onstage and told another attendee, whose behavior was even worse, “The Mötley Crüe concert is across the fucking way.” There is, I would say, a generally agreed upon sense that Tori’s concerts are not opportunities for losing whatever access one has to one’s mind and acting the fool. Most of us hold her and the work in too high a regard for that, as well we should.)

I believe firmly, and on principle, that anyone should be able to do what they want with and to their bodies so long as it harms no one else directly, nor occurs in the absence of the ability of others to consent to collateral damage. But don’t think you have any right to force me or anyone else to deal with the consequences of your choice. If it is pleasurable to you, then that pleasure is yours to do with what you will, except infringe on my already limited experience of the world. Your pleasure does not matter more than mine and your pleasure cannot run carelessly roughshod over mine, ethically. The majority already dictates the norms that constrain me; now those who are supposed to be my allies, my so-called community, are finding their own ways to impinge on my life? Disheartening, to say the least.

We all know these things happen. On many a bootleg have I heard one Toriphile yell to another to please shut up their caterwauling as Tori sings this lovely song and we all try to enjoy it as fully as possible. When someone was losing their shit during the haunting New Orleans performance of “Live to Tell,” on the Scarlet’s Walk tour, if I recall correctly (and you can hear this on the bootleg recording), a woman, clearly fed-up, shouted, “Stop it!” to whomever this gibbering screamer was—and I’m here to say I feel her pain.

If I thought this person I’m writing about were anywhere near sober enough to hear reason, I’d have let him know, then and there. As it was, I was glad to be rid of him, the music still lingering in my head and heart, the sheer joy of the concert and Tori’s buoyant mood still lifting me up, triumphant over his foolishness. May that triumph continue to reign over the inanity of others.
NOTECAPS says:

Mind-blowing. This was my ninth time seeing Ms. Amos and I must say that it did not disappoint in the least. I have been a fan for a while and am so happy to see her going back to her roots of playing the piano. This setlist was fantastic – not at all what I was expecting, but perfect in everyway. This was the end of a long four day run for her and I was expecting a little less energy, but was very impressed when she came out on stage and the Toronto audience was 110% with her and seemed to boost her up! Parasol – great intro – then the “C” theme section of Curtain Call (the only song that I wanted to hear from AATS, that I had not heard, so thank you!), China – beautiful as always – that woman could play Little Earthquakes into the ground and I would be there for every show. Caught a Lite Sneeze was a great rendition with just her on the piano. Everything had a tinge of anger in it and I liked it. Sugar was the one I had been waiting for – after 9 shows, I had never met this girl and I love her so much. Bliss and Icicle were incredible in my opinion – lighting, piano, sound – it all went together so brilliantly – I was literally sitting on the edge of my seat for both!

Her covers were also amazing – even though she fucked up her Justin Bieber cover and would have went down in history as the time she played her early cover “Me and You”. When ‘A Case of You’ surfaced, I knew I was in good hands – I though it too cliche, so thanks for fucking up your cover! I did not know Indian Summer well from Scarlett’s Hidden Treasures, but once I heard it, I liked it a lot and realized she was on a strong “prayer” setlist. Anyways – amazing. Cannot wait to see her in Clearwater and Miami! Thanks T – always a dream! xo
Deanna says:

This was an absolutely incredible show. I have seen Tori live 12 times before this (between 2007 and 2011), and this show was by far the best I’ve ever seen. I knew Tori could command a stage solo, but having never seen her on a solo tour, I wasn’t sure what to expect. Well, I didn’t miss the band at all!

With this being the last of 4 straight shows in a row, I expected Tori to be exhausted and phone it in at least a little. Wrong. Where she gets the energy I’ll never know! She seemed to feed off of the audience and appeared very happy and chatty, especially considering her exhausting tour schedule. She mentioned feeling like she was playing in our living room, which is when you know she’s really comfortable and in good spirits.

In my experience seeing Tori live in different cities, the shows in my hometown of Toronto have some of the best audiences. Audiences here generally tend to be very quiet and respectful during songs, but extremely enthusiastic in between, which is ideal for a Tori concert. It has been like this at all of the Toronto shows I’ve been to for the most part, but there always seems to be that one obnoxious person that ruins things for everyone else. One man was screaming at the most inappropriate moments throughout the show, and you could tell everyone was getting very annoyed. I didn’t let it spoil my experience, though!

Tori’s vocals? Literally flawless. Nothing had a nasal quality at any point, and there were some high notes where she sounded seriously operatic. She didn’t doubt or second-guess herself as much as she sometimes seems to in regards to hitting the big notes.

Some of the biggest highlights for me personally:

China – This song has never been one of my favourites at all, but this live version gave me chills. It really changed the song for me and made me see it in a whole new light.

CALS – I had never seen this one live in any capacity, and to hear this haunting solo version was incredible. I was really happy to hear this because it was on my mental wishlist.

Invisible Boy – I cried. This was definitely the most emotional song of the night. Tori seemed to be looking toward the sound booth almost the entire time and when she finished playing, I believe she made a motion toward Mark. It was so touching.

Free Falling/Building A Mystery – Probably the highlight of the night. These songs went together perfectly and Tori brought a lot of feeling to this mashup. She was really pounding the piano for this one if I remember correctly!

iieee – This solo version is seriously otherworldly. One of the best of the night.

Sugar – The high notes at the end. I just…I…That is all.

Honestly, there was not one song that disappointed. Everything surpassed my expectations. I had actual goosebumps for nearly the entire concert – it was that fantastic.

I think this will go down as one of the best tours of Tori’s career.

Reviews are no longer being accepted for this show.

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