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Tori Amos at (Le) Poisson Rouge
Photo by Ebru Yildiz for NPR

Tori Amos — pop siren and dazzling keyboard technician — gave a special, one-night-only concert on Friday at New York’s (Le) Poisson Rouge. Over the past few years, classical musicians in search of the below-Fourteenth Street crowd have gravitated to this cabaret venue on Bleecker Street, so it makes sense that Amos, who has partnered with the Deutsche Grammophon label, would embrace the quirky venue for a chamber concert with string octet. Tickets were free and available exclusively through a lottery on LPR’s website, though I noted at least one lucky, ticket-less fan who waited out the line, which wrapped around the block, and gained standing-room admission.

Amos was promoting her latest album Gold Dust, a collection of greatest hits in newly orchestrated renditions, marking the twentieth anniversary of her breakout success with Little Earthquakes. For fans who grouse that the updating on Gold Dust is too subtle, that the new versions sound suspiciously similar to the old versions, this concert was a revelation. 

In the live show at (Le) Poisson Rouge, Amos’s interaction with the string players felt substantial and collaborative. The crescendos in “Cloud On My Tongue” were excitingly synchronized, and she sprinkled extra measures of music throughout the song, exposing the seams between verse/chorus, giving the piece a sense of expansiveness and showing off the instrumentalists. Even a fan-favorite like “Hey Jupiter” got the revisionist treatment: Amos deconstructed the song and put it back together, turning a teary, haunting ballad into an up-tempo cabaret number, with plucked strings and percussive keyboard effects. It sounded like a cross between Gotye and Kurt Weill. Going solo for some selections, Amos proved that she could turn a beautiful composition that had seemed too earthbound on record into a buoyant success — most notably “Taxi Ride,” her tribute to makeup artist Kevyn Aucoin, who died in 2002. 

Of course, Amos’s prowess in a live setting is well documented. Rolling Stone acknowledged her undeniable onstage allure in 2003, placing her at No. 5 in its list of the “20 Greatest Live Bands” and branding her “a one-woman wrecking crew.” With the industry-wide decline of CD sales, Amos is one artist who has benefited from the increased importance of concerts and tours in bolstering a recording artist’s profile. Luckily, NPR Music sponsored and broadcast the LPR concert, and it is now available in streaming fashion in their online archivesspacer 


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Current Issue: April 2014 — VOL. 78, NO. 10