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precious-things-digest    Friday, November 2 2007    Volume 12 : Number 093



                               Today's Subjects:
                               -----------------
  [pt] Tori in D.C., 26 Oct 2007   [handal@r2d2.reverse.net (Richard Handal)]
  [pt] Austin Show Cancellation/Move Details  [handal@r2d2.reverse.net (Rich]
  [pt] Re: Austin Show Cancellation/Move Details  [Amanda Bradley <teawithto]

----------------------------------------------------------------------

Date: Sun, 28 Oct 2007 00:28:00 -0500 (CDT)
From: handal@r2d2.reverse.net (Richard Handal)
Subject: [pt] Tori in D.C., 26 Oct 2007

Hi, All,

What can I say about this elixir? An old friend of mine has an
expression: only wonderful. I will add this to that: spectacular.

I made no notes except for times. It began at 8:36, the main set ended
at 10:21, and the concert, the start time of which had been moved up by
half an hour only two days before, was over at 10:46. Tonight's Yo
George sounded especially plaintive--even mournful--and was richly
expressive. I know how Isabel feels about this country, and about the
way we're being held hostage by a gaggle of violent, psychiatrically-
impaired patriarchs, and Constitution Hall being only three blocks from
the White House certainly helped bring home the sensibilities of
American Doll Posse.

In the Springtime of His Voodoo was next. What a casual, rolling version
it was. Pure sensual pleasure. Much smiling ensued.

Scarlet's Walk is an iconically Artemis song. The stagecraft of her
swinging a lantern to her side during the "you just lift your lamp/ I
will follow/ her on her path" sections served to emphasize this. (I love
the pun of "on her path" sounding like "honor path.") Artemis was a
goddess of the moon; a lightbearer. She was known as a goddess of
childbirth, because for nine days, she precociously helped deliver her
own twin brother right after *she* had been born, and she was called the
"helper in pain, whom no pain touches." Artemis was the only goddess to
go repeatedly to her mother's aid. She was the earthbound goddess of the
moon, so distinguished among the trinity of moon goddesses, of whom
Selene ruled in heaven, and Hecate in the underworld. Go back to the
*album* Scarlet's Walk, and consider the narrative of Scarlet as she
sought redemption for this country and healing for Mother Earth, and
you'll understand how much Scarlet was an embodiment of Artemis.

For my money, if Tori had performed a concert solely of any of these
versions of Tombigbee, Scarlet's Walk, or Bells For Her, it would have
been worth the price of the ticket. Bells was grand, immense, and as
finely rendered as I'd ever heard it. The long instrumental introduction
created a stunningly intricate architecture out of gorgeous, circuitous
chord changes, all of which led inexorably to home. My music teacher
friend sitting next to me let out an audible gasp when the main body of
the song finally came into view. One or two other songs began with
expansive new introductions, but not like *this*. And over the span of
some of the songs, there was more in-your-face psychedelicism than I
ever heard all together in a single concert.

At least as important for me at this concert, was the life put into the
songs. A signal aspect of her method is to gently and continuously vary
her dynamics up and down in a cyclical fashion, much like breathing.
Within each instrumental phrase, one is drawn to experience the rising
and falling as their own. This is life itself holding the tension of the
opposites. A MIDI file playing on with inexorable rhythmic precision can
have energy, but it can't have such life as this, because it can't
breathe; it can't *live*.

Even Leather was heartfelt. That isn't the norm, so I always dread
Leather when it comes, and I've heard better, but it wasn't a hollow,
pandering version. And there was an incremental slackening of focus for
a while somewhere around halfway through the proceedings, but I can't
deduct enough for that to bring this concert below an A-. It's probably
the best post-Caton era band concert I ever attended. The guitar seemed
important here and there, even. What a polar opposite in comparison with
the Philly concert of the 15th!

I note that the recording of the Syracuse concert was eventually
released after all. Were some surgical edits made during the delay? Had
they ridden the train off the rails with overexuberance in Syracuse, and
then decided to pull back in Philly? Honestly, in Philly it was as if
they'd had a meeting or something, and there was an understanding to
play it safe. Now, I've seen Matt and Jon follow her dutifully into the
void, so maybe that kind of thing was what was going on in Philly. But
this D.C. concert demonstrated that there's no reason for her to fear
putting it all on the line, even if a recording of the concert is going
to be released. Conversely, there deserves to be fear *OF* playing it
safe.

As far as I can tell, that was it for me on this tour. I wonder when the
next one will be.

Be seeing you,

Richard Handal, H.G.

------------------------------

Date: Tue, 30 Oct 2007 22:41:51 -0500 (CDT)
From: handal@r2d2.reverse.net (Richard Handal)
Subject: [pt] Austin Show Cancellation/Move Details

http://undented.com/news/1220/austin-show-cancellationmove-details

News: Austin Show Cancellation/Move Details
Posted by Violet on Tuesday, October 30, 2007 | Tour


    The Tori Amos concert originally scheduled for November 26 at the
Austin Music Hall has been moved to The Majestic Theatre in San Antonio.

    Due to the current renovations at the Austin Music Hall, Direct
Events and Live Nation believe it is in the fans interests to move the
concert. This will allow for the new Austin Music Hall to be completed
and unveiled at its best when re-opening to properly showcase the
artists scheduled for the opening time period.

    Ticket holders for the original Austin show MUST have their tickets
refunded. For information on refunds for the Austin Music Hall show,
please call GetTix at 1-866-443-8849.

    Original ticket holders for the Austin show will have an exclusive
presale opportunity to access tickets for the new San Antonio show and
will be notified this week via email.

    The general public on sale for Tori Amos in San Antonio is this
Saturday, November 3 at 10am at all Ticketmaster outlets and charge by
phone.

------------------------------

Date: Wed, 31 Oct 2007 06:18:54 -0700 (PDT)
From: Amanda Bradley <teawithtori@yahoo.com>
Subject: [pt] Re: Austin Show Cancellation/Move Details

Fuck!  Makes for a minor headache with the M&G.  I'll have to leave extra early now, fight traffic, drive 60+ miles roundtrip, and pay to eat out for an entire day now that the show is in San Antonio.  It was going to be within a few miles from my house when here in Austin.


Richard Handal <handal@r2d2.reverse.net> wrote:  http://undented.com/news/1220/austin-show-cancellationmove-details

News: Austin Show Cancellation/Move Details
Posted by Violet on Tuesday, October 30, 2007 | Tour


The Tori Amos concert originally scheduled for November 26 at the
Austin Music Hall has been moved to The Majestic Theatre in San Antonio.

Due to the current renovations at the Austin Music Hall, Direct
Events and Live Nation believe it is in the fans interests to move the
concert. This will allow for the new Austin Music Hall to be completed
and unveiled at its best when re-opening to properly showcase the
artists scheduled for the opening time period.

Ticket holders for the original Austin show MUST have their tickets
refunded. For information on refunds for the Austin Music Hall show,
please call GetTix at 1-866-443-8849.

Original ticket holders for the Austin show will have an exclusive
presale opportunity to access tickets for the new San Antonio show and
will be notified this week via email.

The general public on sale for Tori Amos in San Antonio is this
Saturday, November 3 at 10am at all Ticketmaster outlets and charge by
phone.
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Peace Out,
Amanda

"You and me will all go down in History.  With a sad statue of Liberty and a Generation that didn't agree."
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End of precious-things-digest V12 #93
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