Original Sinsuality Tour: The set list and reviews for Tori's May 30, 2005 concert in Dublin, Ireland
Updated Mon, May 30, 2005 - 10:25pm ET
Tori begins the European leg of her Original Sinsuality tour! You can now see the set list and reviews for the Dublin, Ireland concert at Vicar Street. Tori set list included Blood Roses, Toast and the covers After All (David Bowie) and Time (Tom Waits) during Tori's Piano Bar segment of the show. If you were at this concert and want to send The Dent a review, please email Mikewhy at firstname.lastname@example.org with your review or comments. You can also post your review of the show on The Dent's Original Sinsuality Tour Forum. It would be nice to get as many different viewpoints about this show as possible!
Tori performed in Dublin, Ireland on Monday, May 30, 2005 at Vicar Street. Tori's special guest was Tom McRae and the show started at 8:30PM.
Special thanks to Matt Page and Richard G. for calling me with the set list after the show! Thanks also to Robert Schrader for being the first to email me the set list.
Take To The Sky
After All (David Bowie cover)
Time (Tom Waits cover)
The latest reviews are at the bottom of this page. If you were at this show and want to send The Dent a review, please email Mikewhy at email@example.com with your review or comments.
You can also go to the Original Sinsuality Concert Review Forum and post about your experiences as well, or read additional reviews.
From Matt Page and Richard G.:
Tori is off to a strong start in Europe in Dublin, Ireland! She performed in a small and really nice venue that held about 1000 people. The audience was very respectful, and Tori was wearing green, which is appropriately Irish!
She pulled three times from Strange Little Girls, including the two songs during her "piano bar" segment. It was a surprise getting After All by David Bowie, which Tori said was supposed to be on the Strange Little Girls album. This was the first time Tori has ever played this song as far as I know!
Tori talked to the audience and told them it had been a fucking long time since she played there. Someone yelled out to her that she looked great and Tori replied, "I'll get you the number of my surgeon."
Tori made a mistake and started playing Mother Revolution too soon. She quickly realized her error though, and then went to the piano and played Icicle first instead and then Mother Revolution.
Before her piano bar segment Tori mentioned that she has gotten many requests for covers and some of them have been really bad. I think the crowd asked her to sing something by someone Irish and Tori said something like she already did that with Rattlesnakes. The crowd told her that Llyod Cole was not Irish, and Tori said something like, "Are you sure?"
Blood Roses and Yes, Anastasia were very strong tonight. Tori hit the high note in Yes, Anastasia perfectly. She also did a flawless version of Winter with no lyrical mistakes or hesitation.
Tori Came on stage about 9.40pm,Dressed in a 'glowing white dress' she looked absolutely stunning. Once again she kicked things off with 'Oridgenal senuality',the crowd went wild... Tori Spoke about her visit to Dublin,and that she went to see the 'Book of Kells' in Trinity Collage,and that she felt embarrased with all the "american tourists" saying how great it was!! She said she felt like pulling up her hood to disguise herself..!
The Sound was excellent Tonite, all credit to Mark and the boys, this was my 6th Tori show and her voice seemed more stronger than ever.
Vicar st. is a very small venue so been so close to tori makes it even more intimit.
During the 'Beekeeper' tori was on the organ,and for me this was the highlight of the show,everything was perfect,the sound,the voice,the lights....as if she was an Angel sent down from Heaven to guide you up to those mighty gates up above...
Winter was another favourite of the sold-out crowd,the old timers like myself liked that one!
Tori wrapped up the gig with 'Toast', she sang it superb with excellent timing.
For a gig without Matt and John who i love dearly, this was mind blowing. I can't wait till tomorrow nite...
The venue to stuffed to the gills and as Tori walked onstage (a little later than planned) she walked to the centre of the stage and seemed to bless the crowd before taking a seat at the main piano. Her outfit looked glowing white under the lights and was very flowing, her hair extensions looked great too! I for one am thoroughly enjoying Tori's look for the promo of The Beekeeper, she's really going all out in the glamour stakes. And to think she's over 40, that is a shocker. When complimented by the crowd on how good she looked she replied 'I must give you the name of my surgeon nnss!' Which I thought was hilarious.
You've seen the set list above so you know what she played. Personal favourites were a beautiful delivery of 'Winter' & 'Playboy Mommy'. I adored the way she would beat the piano for percussion during parts of 'Take To The Sky', which lead to many of the audience clapping along. The song that echoed in my head all the way home was 'Mother Revolution'.
The crowd were so attentive and wooped and screamed at the opening bars of nearly every number. Her banter to the audience was, as always, very entertaining. When she was introducing the covers section of the show, someone yelled out that she should play something Irish, Tori bounced back with 'Well I'm Irish so I'll sing whatever I want' which was met with huge applause.
Tori's husband, Mark Hawley was clearly doing the sound for the show. The sound was outstanding, I have been to a lot of shows at this venue and I have never heard quality of sound like it. The reverb and vocal effects were timed to the second and considering Tori doesn't stick to a strict set-list, you can tell the strength of their bond when he can just go with whatever she does on stage and be able to follow it instantly.
It was great to see her in such an intimate venue and considering she sold out two dates in a very short time, it seems the Irish Tori fans know the value of getting the chance to see her in such a great setting. Considering the last time she played Dublin was in the early 90's as she said herself 'It's been a long fucking time!'
This is the first review I have every done of a concert but I feel I have to give you an Irish review of a fantastic show. First of all the venue, Vicar street is very close to my Dublin heart. It is a beautiful intimate venue that really caters for lovers of music, every seat is close to the artist. But in Dublin we are used to that. In front of the stage are tiny tables and they are surrounded with seats like a lecture theatre and a really small balcony. Tori mentioned that she didn't have her light show with her and she said that was unfortunate as it made her do things.
I was first introduced to Tori when she supported Marc Cohn in the National Stadium in Dublin and she hadn't even released Little Earthquakes. I was hooked. Last night her voice sounded so beautiful. Huge thanks to her wonderful sound production, you can hear every intake of breath.
The fans were great. In Ireland there is a tradition of singing along with the artist but that didn't happen last night. I could see people mouthing along but the respect for the performer's voice was evident. These shows sold out fast and you could see why.
There were four pianos on stage with Tori staying put mostly at the Bosendorfer. Icicle got a huge roar from the crowd who recognised it straight away, as did Blood Roses, Marianne and Winter. Take to the Sky was excellent with Tori beating out the time with the palm of her hand against the piano. I was delighted to hear Playboy Mommy, which she crossed the stage to do at the little piano nearest us. The Rattlesnakes cover was excellent, Lloyd Cole and the commotions had reformed not so long ago and played a gig at Vicar Street, so it was very apt.
What else can I tell you? Her clothes were beautiful, with the highest pair of mules I have ever seen on someone playing the piano. She confessed to having a little trouble with them on the pedals of the organ.
I am off to see Tori again tonight and cross the water to see the London show on Saturday and I can't wait. I hope this review is helpful and is of course only one little Irish fans perspective. Thanks Tori.
the first night tori seemed to play more off the new album, very melodic and lilting. this was a night which eased the fans who had bought tickets for both nights into the more entertaining second night. the first night definitely was one for the true tori fans. she didn't play too many crowd pleasers but we still loved it. applause started and ended every song. you could tell the crowd were loving this intimate night where she was letting us into her musical fantasy. sitting eyes closed swaying to the music you had only to open you eyes, look up and see she was doing the same - almost lost in her own songs.
Today started with a good omen of me getting an e-mail to say I had been upgraded. The seats were brilliant, I was in the very centre and could see everything she did. She walked out wearing a light green/light blue floaty top and skirt. Then started into Original Sinsuality and everyone errupted. After Mother Revolution she said her hello to the crowd. One girl shouted out that Tori looked beautiful and Tori thanked her. Then the girl shouted back "as always" and Tori said she'd give her the name of her surgeon. Then she told us she had been to see the Book of Kells inTrinity erlier today and she was surrounded by annoying American's shouting 'Frank, Frank'. One woman said, 'we're not all like that' and Tori said, 'I know'. Then I think she said something about being able to say that because she is Irish.
When it came to the Piano Bar she said most of the suggestions sucked so she played After All (which was absolutly brilliant) and she played Time. She had already played Rattlesnakes in her normal set and said that we weren't getting her full light show.
When she played The Beekeeper everyone was so quiet, which I thought was nice. Also, I can't remember which song but she began to play it, then stopped and shouted 'Fuck, that's what happens when you try to play in heels'.
The whole show was brilliant. And to top it off I got a signed set list. Just when I thought things couldn't get any better, I was sitting in the lobby of my hotel with a drink and who walks in........Tori. I couldn't believe it! I called her and she came over and listened to me even though she was really tired and stood into a picture with me. The perfect ending to a perfect day.
From Erin Halliday:
On Monday morning, my sister and I started driving from Belfast at 10 am but we detoured via Castlebellingham for some lunch, so we didn't get to Dublin until after 2. By the time we'd checked-in to Jury's Christchurch and headed out (in the pouring rain), it was roughly 3.35 pm when we found Vicar Street. A lovely girl who was sheltering under the black awning asked us were we there for the Meet&Greet and when we said yes, she said "you'd better hurry - they've just gone in that door there" and pointed for us. We tried to get in through the door, but the nastiest bouncer EVER wouldn't let us in. No-one else showed up afterward and they had only shut the door five minutes beforehand, so we stood on the steps of the venue in the rain, looking through the window at Tori meeting people one by one for the whole time. We were the only two people who didn't get to meet Tori that day, but she smiled at me through the glass. Anyway, all the EWF were especially nice. It was great to finally meet Dor and have a chat with her (happy birthday Dor!) - she says Tori is planning an Elvis Costello cover for one of the London shows as her birthday treat, so I can't wait for that.
On the Monday night, I couldn't believe how relaxed the venue was: Tori was still sound-checking when we went into the bar. There was no queue at the merchandise stall, and we even got a table in the lounge. We were lucky enough to get upgrades on our seats, from table 92 to the very front row, and when we found our table I couldn't stop my heart pounding - we were right in front of her pianos! There were four solitary pianos on a tiny stage and a couple of hundred seats set around tables, with some along the walls. It was like going to a gig in somebody's living room! Tom McRae gave an astonishing performance, despite his sound giving in twice, which I was glad happened during his warm-up and not during Tori's performance.
It wasn't long before Tori came on. She said "well, it's been, em..." and I shouted, "a LONG time!" She said "Yeah - a very long time!" She was wearing a beautiful outfit. She had on fine white fishnet tights, a salmon pink wool tank top with a big brown belt around her waist. Over this she'd a layer of fine serpentine-green muslin tied like a halterneck and tied around her waist, with another layer of this tied as a skirt. Under the lower part she wore a flowing white silk skirt with a layer of green chiffon over it and a short green chiffon cape over her shoulders. On her feet, she had lilac satin Jimmy Choo toeless stilettos that buckled round her ankles and had a five or six inch heel on them! She wore her delicate diamond necklace on a fine chain and her ring that she wears on the second finger of her left hand with the green gem set in diamonds, as well as a thick bangle that appeared to be made out of silver, or embossed metal. Her hair was elegantly curled, all in her different lengths and it looked perfectly sleek at first (it frizzed up later with all of her headbanging). She'd lovely dusky pink eyeshadow on and loads of lip gloss! I shouted to her, "You look beautiful, Tori" and she replied, "Thanks, I'll give you the number of my surgeon" and the girl behind me, Karen shouted, "As always."
Tori played a really long, beautiful introduction to Original Sinsuality, before singing it with real vigour. When she was singing "sinsuality", an enormous blob of drool dropped from her bottom lip! She sang the lines "Yaldaboath, Saklas, I'm calling you, Samael, you are not alone, I say, you are not alone in your darkness. You are not alone baby, you are not alone" with such intensity that I felt the whole place shiver, it was a real call to prayer; a perfect alignment of the atmosphere for the evening's set. Tori did lots of standing up playing her Bse at this gig. When she went straight into the introduction to Icicle, the crowd naturally went wild. Then she had a little chat with us. She did her usual "Hey everybody, how's it going?" until we'd stopped cheering, then told us about going to see the Book of Kells. She made jokes about how she wanted to put her hood up and hide when all the Americans were saying "Hey, Frank" When a girl shouted "we're not all dumb", she said "I know that, but why is it always the ones I know?"
Before she began Mother Revolution, she did a little improv. of "Lucky, lucky me, lucky me". She fired ahead straight into Take to The Sky afterwards and the audience clapped along with her as she tapped out the rhythm with her right hand on the Bse as she always does. She crossed her left leg over her right to get into the mood for the lyrics for a while, and she jiggled up and down on the piano stool to the chorus. She sang the bridge as on the Scarlet's Walk Tour: "If-huh-you-no-don't-a-like me just a little..."
Tori did Blood Roses next and she knocked the socks off it! She turned around and played it on the organ, grinding her ass on the stool and growling and pulling faces. The look on Tori's face when she sang, "You think I'm queer, I think you're a queer, I've shaved every place where you've been. God knows I've thrown away those graces" was astounding - she screwed up her face and stared really hard with her eyes. She was moving her whole body, stretching out her legs and nodding forward heavily between the two keyboards of the organ and Bse. Tori spat and drooled when she sang "When he sucks you deep sometimes you're nothing but meat." It was fantastic. Then she turned back to the Bse and began Yes, Anastasia. The crowd went crazy to hear this! I thought that it was a shame that she just went straight into "Thought I'd been through this in 1919", missing out the first half of the song, but I know that she rarely does the full intro live.
Tori then went over to the black organ at the far left and played Rattlesnakes. The bouncer was having a quiet word with the girl at the table next to me who was fiddling with her mobile the whole time, and this distracted Tori's attention for a moment - she kept her eyes full on the bouncer and I thought that if the bouncer didn't get out of her line of vision (she was standing up tall right in front of Tori in the front row) that Tori was about to say something. When the kufuffle was over Tori looked right into my eyes. She looked so happy playing this song. It was a very sad mood, but Tori kept smiling and sighing with the lyrics. Each time that she sang the "Hey-ay", she'd look out into the audience and smirk. This was a very slow version of Rattlesnakes, full of concentration and lots of Tori looking up toward the heavens, especially when she sang "it's so hard to love when love was your great disappointment."
Tori then chatted to us some more. She said that she didn't have her little sign, so we didn't "get the full lights show". I called to her "but we get the full Tori show!" and she replied, "Not quite - the lights make me do things. I'm a star - I see a light, I react!" Then she said that this was her Piano Bar segment and that all the requests that she'd had were shit. Everybody laughed. She sat with her right leg crossed over her left leg (may I say, she has very nice knees!) and then finally she said "enough! This isn't a pub, so I'll stop talking" and played After All, which was such a surprise, and just magical. Very haunting. She followed this with Time. By this point, the mood of the show was really resonating. It seemed to be all about death. Not in a bad way at all, it wasn't morbid or melancholy, but the show was extremely contemplative. Nothing was missing from the performance; don't get me wrong. In fact, it's the best Tori show that I have ever been to. I preferred the mood that she created in this gig. It was incredibly intimate. Tori seemed really very happy and contented and the songs reflected this. There was nothing frivolous about this gig. It was very considered and almost like having a conversation with her rather than watching her perform. She seemed to be letting us all into her heart. I got to see Tori in many guises - I saw her personal feelings written on her face and heard them in her voice through these songs.
Amber Waves had a shimmy to it, but it was also tinted with a hint of sadness with "they told me to tell you they're waving". I really enjoyed this song at this gig; she shone threw in a way in which she hadn't done at previous gigs. Tori followed it with Marianne. She played a delicate introduction on her Bse and I could just hear the words "tuna, rubber" coming. It was so beautiful. The line that stood out was when Tori sang "and they said Marianne killed herself". Tori then began to play Ribbons Undone. This song was so touching - it felt like we were really seeing Tori the Mummy singing. She had a big smile on her face the whole way through this song, I could believe she was picturing Tash the whole time. It was very delicate and private this song. When she launched into "she runs like the fire does" and the lights intensified, the emotion was overwhelming. I couldn't help crying! At the end of the song, when Tori sings the harmonies, although she didn't do the very high notes, she'd had taken us all off into her world and the atmosphere was incredibly tender.
She then turned round to the organ and hit a bum note and went, "FUUUCK, that's what happens when you try to play the organ in heels!" She then turned back round to the Bse and played around for a while. She sang Spring Haze, making hand signals to the sound desk behind the piano at points. I don't know whether she was supposed to have played the song on the organ and couldn't, but it didn't make any difference, it sounded flawless. I loved her expressions whilsst singing "why does it always end up like this?" She was rocking hard. Then she got up again and walked over to the organ second from the left and played The Beekeeper. Now this was something really special. The sound off the instrument was so intense that it made your head spin. Her playing formed a constant plane of sound to underlay her vocals. She sang quite slowly and clearly - every note like crystal. She held her arms out behind her when she sang "I promise that she will wake tomorrow, somewhere, tomorrow, somewhere". She split up the tracking so that the song was extended, singing both "Wrap yourself around the Tree of Life and Dance of the Infinity of the Hive" as well as "Take this message to Michael". She sang "Take this message to Michael" really slowly and clearly. It felt very sad and raw at that point. Tori then left the stage. I was surprised that nobody made to stand up and go to the stage for the encores as usual, I suppose in such a small venue, there was no need. That was nice, but it meant that she didn't get to squeeze anybody's hand, she just waved her wee winky, twinkle waves and ran off. When she came back for the first encore she played Winter. This was really special for me, because my friend Mark had requested this song for his mother who has just passed away at the Meet&Greet that afternoon and she'd written it on her hand, saying to him that it was the first request she'd had that day. When Tori was singing "I put my hand in my Father's glove" and "things are gonna change so fast", I knew that he would be crying his eyes out at table 106, knowing that Tori was playing it just for him and his mum. I'm glad that she did that. She really cares. She played it so perfectly and she looked so sad while she was singing it that I knew she was thinking of him.
Tori then came back over to the black organ to play Playboy Mommy, which is my saddest Tori song, and the tears streamed down my face. I was sitting right in front of her and she saw me, so I smiled. Her voice was very fragile when she sang "I'll say it loud here by your grave, those angels can't ever take my place" and "I can't find those church bells that played when you died, played Gloria, Hosannah". Thinking that she'd just played Ribbons Undone, it was lovely to see Tori sing a song for her lost daughter as well as one for Tash. At the last line, singing "I'll be home to take you in my arms", she took both her hands off the keyboard and put them one on top of the other over her heart and closed her eyes with a smile.
When Tori came back for her second encore, she played Josephine, which seemed like a happy note on this night. She then went over to the second organ from the right again and began to play Toast - a real heart-wrencher. This was a beautiful note to end on. As I said, the show seemed to be all about death, in a happy sort of way. Playing this song for Michael just crowned the evening's performance. Tori seemed really sad, but not bitter or angry, but contended. It felt as if she trusted the audience that night to take a leap and play that sort of a gig. To let us into her heart and to see her in so many ways: Tori the mother; Tori the girl who is afraid of her mother dying; Tori whose brother has just passed away; Tori who has lost babies. Still, she ended the gig "making a toast", giggling when she was singing "Mr. Bo Jangles". Everyone left the gig quietly, not subdued, but tranquil and peaced-out. It was as if Tori had meditated with us for two hours. It was as if she'd sat down and talked to us as friends. I didn't feel like going out afterward, I wiped the tears from my face, walked back to the hotel with my sister and I read her the Tour Programme, which is a beautiful tribute to gardening. I've just taken up gardening as a way to recover from the chemotherapy I'm having at the moment for ovarian cancer, and the beautiful photographs of Tori and Neil Gaiman's words about flowers and petals and scents, and sketches of her garden just lulled me to sleep, thinking of Tori very peacefully.