North American Plugged '98 Tour
Tori performed in Montreal, QUE on July 26, 1998 at the Molson Centre during the main North American leg of her Plugged '98 tour. The show was shorter than usual because Tori was not feeling well. A few people in the reviews below were upset by that. Hopefully once they realize that Tori did not feel well they will not feel so negatively about it.
Tori performed China and Baker Baker solo. Many thanks to Matt Page for being the first to send me this set list. (He actually called me on the phone from Montreal!) I would also like to thank Toriphile Franck for emailing the set list to me so quickly!
The most recently added reviews are first.
From Brie O'Keefe
August 25, 1998 - Ok, so I've been reading all these reviews of the tori amos concert I attended on July 26th and I must say, I think some people were way off.
I felt so lucky just to be at the show, and you fans who have been following her around have to understand that she is a person too, who gives her all every night, and when shes sick, it just means she can't give her all for as long.
I was disappointed that spark didn't get played, it was a song that has seemed to have struck a nerve with me and I was really looking forward to hearing her emotion live. As for the girl who said there was booing at the end, I too heard it, but it sounded like about ten people, and I was seated at the centre of the arena on the floor. It was my first tori concert and I just couldn't believe she was there. As for precious things, I found it SO amazing, she rocked the socks of that song, and almost all the songs after. I found the set to be very heavy, and you could also tell there was strain on her voice, because in most of the places where tori would sing something up the octave she sang down. I am a piano player too, and it was just so awesome. I knew it wasn't her best concert, but I can definetly say that I don't think i'll be able to remember a concert that comes close to the emotional feed. People who were there can't tell me they didn't feel the love and emotion during china and baker baker, where the lighters made the stadium look like it was lit with candles. I was moved to tears by the whole thing.
So all of you, give tori a break.
From J.F. Verreault
August 7, 1998 - I saw Tori in Montreal two weeks ago, it was my eight concert (first ones during UtP tour), and I have to say it was the crapiest Tori concert I've ever attended. Can't you see that the current format leaves absolutely NO place for emotivity?!? [Note From Mikewhy: I respect your opinion, but to answer your question, I think the band format does allow for emotivity!] The shows are BLAND compared to the earlier tours.
I am extremely disappointed in how Tori has approached the "band" thing. But don't get me wrong, I don't have anything against her using a band -- in fact, I'd been hoping for that ever since the Pele tour, where it seemed obvious that this was the direction she was getting into.
But IT DOESN'T WORK! It doesn't work on the album, and it doesn't work live. The balance between Tori and the band is just not OK, and it just doesn't sound good. The production on Choirgirl sucks, which is suprising compared to Pele which was a masterpiece in production. Just compare the sound of Professional Widow with any song from Choirgirl, and tell me which one's better?!?
I can only attribute this to Tori's lack of experience with playing in a band. And I can only hope that, if she pursues her efforts with a band, it will get better than what it is now. Choirgirl, in my mind, is the weakest albums of the four (and yes, I'm not counting WKTR)
I could go on for a long time, but I think my point is across...
August 1, 1998 - Well, I know you've gotten a lot of reviews about the Montreal show that complained about the shortness of the show,but I'd like to say a few words about the reaction of some fans after the show.
First,I would like to mention that this was my first Tori show ever,so I was very much looking forward to hearing the normal set list length. Before the show, I had the *enormous* privilege of seeing Tori at the meet & greet, in addition to getting her autograph. Needless to say, I was in seventh heaven. That alone would make people think that I shouldn't bitch about the show,but that is not my intent.What disturbed me was what occured after the show,or rather, after the audience realized that Tori wouldn't perform a second encore.
I will have to explain in detail what happened so that people can get a clear sense of what transpired. After Tori stepped off the stage for what was going to be the last time, stage people came and started to dismantle the equipment. The lights on the stage went off,but the audience was incredibly tenacious,and continued applauding and chanting ''Tori!Tori!Tori!''. It was incredible.But then, the lights went back on,so the audience (I presume; that was my impression anyway) roared and thought Tori would indeed come back out and do a second encore. But it didn't happen.Seconds later,the lights turned back off,then on, then off again. Looking back, I can understand why some fans felt cheated; I guess it could have felt like they were playing mind games with us.
After the lights of the Centre itself turned on, I realized that there was no point in staying inside any longer. My friends and I were about to head out of the theatre when I heard booing. I know that sounds impossible, but it is true. I have to be very clear about this: it wasn't just five or six people that were booing. There were *many* people. I wouldn't know how many, but it was definitely loud.
More than the short set list, that event is what turned me off. I was very angry,and I still am. How could anyone boo their singer? Rumors about Tori's health had been circulating for a while,and she did look fatigued on stage. How can anybody feel ''ripped off'' when the performer is visibly not feeling 100% ? Can anyone honestly say they could handle Tori's schedule and not feel ill once in a while?
If anything, we should appreciate what Tori gave us that night. She gave us her best, her best of that particular night. Let's face it, she could have easily cancelled the show,like she had cancelled the TV appearance she was scheduled to do that same day, so that she could recuperate for the show. Tori cares too much about her fans,and about her love to perform,to blatantly ''cheat'' her fans. Any hint of that is unfounded and complete nonsense.
I am not surprised that Tori has postponed the Poughkeepsie, NY show. She picked up the pace a bit in her last two shows (add to that her appearance on the David Letterman show), and now she is feeling the effects. I just have a wish for the people who booed Tori Sunday night: I hope they can understand how dedicated a performer Tori is. Once they do, they might discover new things about the music (and the woman) that brought them to the Molson Centre in the first place.
From the Montreal Gazette
August 1, 1998 - The following review appeared in the Montreal Gazette on July 27, 1998. It was sent to me by Toriphile Shawn Dearn aka VertiGoGo. Any typos are his own and anything in parentheses is commentary from Shawn.
GHOSTS OF TORI AMOS By Eric Siblin, Pop Music Critic
Tourists take away any number of memories when they visit strange
cities, and for Tori Amos it was a conversation with ghosts.
A typical Tori memory. Nothing spooky. A perfectly natural netherworld
kind of thing.
Amos didn't speak much during her concert last night (Sunday July 26,
1998), except to recall a visit to Montreal when she was 5 years old. "I
used to see ghosts in the water and say hi to them," she said
matter-of-factly. "And they're still there."
She knows. Last night, river dwelling spirits would have heard Amos
wrestling with demons and easily defeating them, soaring to angelic
loftiness and descending into Hades in flights of uncompromising, unhinged
A three-piece band provided the quiver for Torrid improvisation; her
voice swooped and fluttered, moaned and shrieked in a hundred more zones
than most rock singers conceive of (as if a Toriphile didn't expect this).
Her band didn't follow song structures so much as one woman's fevered
The first Amos "plugged" tour in many pagan moons compensated for the
loss of intimacy with improvisation. Most artists reign in the jams and get
formulaic for the big-ticket arena setups; she used the occasion for
extendo forays and a frenzied speaking in tongues (which was pure magic).
The daughter of a Methodist minister who's devoted many lyric to
combating Christian thinking, Amos opened with Precious Things, immediately
discharging her full emotional arsenal (she kicked the hell out of this
opener! It was awesome): from plinky notes to crashing chords, a voice all
over the map from throaty moans to falsetto torment like a nun who
stumbled upon gospel and strayed from the choir. From there she blasted
through Little Amsterdam, dragging her voice like white trash over a sultry
vamp, the guitar snaking its way around her opaque notions. On the next
item, Cruel, she twisted her hands in little magical circles,
hyperventilating the words to an end (as the audience went totally nuts).
She flipped her red locks in snappy rhythmic salutes, employed facial
vibrato, little-girl waves and erotic gesture (as only Tori can pull off
Amos divided her instrumental time between a grand piano and a
synthesizer, often with one hand on each. When she scaled down to
night-club size with just the piano and voice for two songs (China & Baker
Baker), the solo routine survived the arena dimensions, powered by a
technique she first learned at the age of 5 when the child prodigy heard
not only by ghosts but classical piano techniques at a prestigious Boston
institute (Tori nearly blew the roof off the Molson Centre when she
ever-so-gently sneaked into the opening chords of China, and when the roof
was still there at the finish, she brought the place down with a seductive
and passionate rendition of Baker Baker which saw the brief piano-only set
lit more by lighters in the audience than by the hot, power driven stage
lighting). And lyrics that are among the most cryptic and inaccessible in
the business were just gorgeous sounds on her instrument last night; nobody
needed to decode anything otherworldly.
The downside of the 75-minute show involved too much emotion resting
on too few musical themes; the domination of intensity over dynamics and
variation. (And while the reviewer may have thought something was
lacking...the audience's screams told Tori she was giving them just the right
mix of the old and the new).
Yet the highly original tunes that are Amos's stock-in-trade
Cornflake Girl, Playboy Mommy, China, Baker Baker, Tear in Your Hand
delighted a crowd somewhere in the neighborhood of 5,000 Toriphiles
("delighted" is an major understatement and this Toriphile says there were
closer to 10-thousand fans at the concert).
On Raspberry Swirl (the climax of the whole show), the band worked up
a storm of techno beats and cacophonous anguish, the wheels spinning on one
menacing tone as Amos held her own in some speeding vehicle. (Raspberry
Swirl was by far the most exciting and explosive number all night, mind you
Cornflake Girl was a close second, this version of Raspberry sounded much
more "danceable" than the one on the album. Makes me wish I had brought my
mini-disc to record the concert).
A moody dreamscape of Waitress (with hardly any piano in it at
all...very interesting) followed, giving voice to the murderous impulses of a
preacher's daughter. A shotgun-toting earth-worshipper: A religious girl on
talking terms with ghosts.
By Eric Siblin, Pop Music Critic
Tourists take away any number of memories when they visit strange cities, and for Tori Amos it was a conversation with ghosts.
A typical Tori memory. Nothing spooky. A perfectly natural netherworld kind of thing.
Amos didn't speak much during her concert last night (Sunday July 26, 1998), except to recall a visit to Montreal when she was 5 years old. "I used to see ghosts in the water and say hi to them," she said matter-of-factly. "And they're still there."
She knows. Last night, river dwelling spirits would have heard Amos wrestling with demons and easily defeating them, soaring to angelic loftiness and descending into Hades in flights of uncompromising, unhinged musical fancy.
A three-piece band provided the quiver for Torrid improvisation; her voice swooped and fluttered, moaned and shrieked in a hundred more zones than most rock singers conceive of (as if a Toriphile didn't expect this). Her band didn't follow song structures so much as one woman's fevered imagination.
The first Amos "plugged" tour in many pagan moons compensated for the loss of intimacy with improvisation. Most artists reign in the jams and get formulaic for the big-ticket arena setups; she used the occasion for extendo forays and a frenzied speaking in tongues (which was pure magic).
The daughter of a Methodist minister who's devoted many lyric to combating Christian thinking, Amos opened with Precious Things, immediately discharging her full emotional arsenal (she kicked the hell out of this opener! It was awesome): from plinky notes to crashing chords, a voice all over the map from throaty moans to falsetto torment like a nun who stumbled upon gospel and strayed from the choir. From there she blasted through Little Amsterdam, dragging her voice like white trash over a sultry vamp, the guitar snaking its way around her opaque notions. On the next item, Cruel, she twisted her hands in little magical circles, hyperventilating the words to an end (as the audience went totally nuts).
She flipped her red locks in snappy rhythmic salutes, employed facial vibrato, little-girl waves and erotic gesture (as only Tori can pull off this beautifully).
Amos divided her instrumental time between a grand piano and a synthesizer, often with one hand on each. When she scaled down to night-club size with just the piano and voice for two songs (China & Baker Baker), the solo routine survived the arena dimensions, powered by a technique she first learned at the age of 5 when the child prodigy heard not only by ghosts but classical piano techniques at a prestigious Boston institute (Tori nearly blew the roof off the Molson Centre when she ever-so-gently sneaked into the opening chords of China, and when the roof was still there at the finish, she brought the place down with a seductive and passionate rendition of Baker Baker which saw the brief piano-only set lit more by lighters in the audience than by the hot, power driven stage lighting). And lyrics that are among the most cryptic and inaccessible in the business were just gorgeous sounds on her instrument last night; nobody needed to decode anything otherworldly.
The downside of the 75-minute show involved too much emotion resting on too few musical themes; the domination of intensity over dynamics and variation. (And while the reviewer may have thought something was lacking...the audience's screams told Tori she was giving them just the right mix of the old and the new).
Yet the highly original tunes that are Amos's stock-in-trade Cornflake Girl, Playboy Mommy, China, Baker Baker, Tear in Your Hand delighted a crowd somewhere in the neighborhood of 5,000 Toriphiles ("delighted" is an major understatement and this Toriphile says there were closer to 10-thousand fans at the concert).
On Raspberry Swirl (the climax of the whole show), the band worked up a storm of techno beats and cacophonous anguish, the wheels spinning on one menacing tone as Amos held her own in some speeding vehicle. (Raspberry Swirl was by far the most exciting and explosive number all night, mind you Cornflake Girl was a close second, this version of Raspberry sounded much more "danceable" than the one on the album. Makes me wish I had brought my mini-disc to record the concert).
A moody dreamscape of Waitress (with hardly any piano in it at all...very interesting) followed, giving voice to the murderous impulses of a preacher's daughter. A shotgun-toting earth-worshipper: A religious girl on talking terms with ghosts.
From Jamy&Glen (posted to teh RDTRN mailing list)
August 1, 1998 - Hello all in Tori land . . . . . my ears aren't ringing anymore, but the feeling of disappointment still lurks. Myself and my partner were so wound up for the whole affair, maybe the real thing couldn't be anything but a letdown. To be fair, Tori's performance was great -- lost in the music, her enthusiasm was incredible, sharing a cross section of music from Little Earthquakes onwards. That was the big surprise: only 4 songs from the new album were performed -- "Cruel," "Playboy Mommy," "Raspberry Swirl," and "She's Your Cocaine." The rest was a mishmash >from the rest of her albums, plus a few b-sides. "Sugar" and "Honey" were highlights of the show, despite the fact that "Sugar" was unnecessarily rocked out. "Sugar" is a subtle song, so the big drums and guitar paired with cheesy stadium rock-lights seemed . . . . well, wrong. "China" and "Baker Baker" were performed solo midway in the set, bookended by the two previously mentioned b-sides . . . . . These four songs were the best part of the whole show. Otherwise, the show was fairly flat. There was no real dynamic to any of the songs because everyone playing on stage had to make noise at all times. The nuances, the highs and lows in mood of "Precious Things" were lost. "Cruel" was monotonous. "Little Amsterdam" plodded along with a dull mid-tempo rock beat. And "Horses" . . . .. . I am sorry, but someone has to say this. The PLUGGED 98 reinterpretation of "Horses" just isn't good. Maybe I am biased because this is one of my favourite songs, but the full-band version isn't really "Horses" at all, but a non-song -- Tori improvises some of the lines from "Horses" overtook of a repetitive drum-bass-guitar arrangement, but the whole thing fails to take the song to another level. The whole affair made me think of only one thing: . . . . . . . Y Kant Tori Read. ACK!
From Atartalia (posted to the rec.music.tori-amos newsgroup)
July 30, 1998 - This is not a review of the show but an observation that Atartalia made to the newsgroup that I think is worthwhile reading for anyone who wondered why the Canadian shows were so short:
I've been following the threads on the Canada shows, and just wanted to add my observations/make a request.
Earlier today, I was fortunate enough to sit in on a rehearsal for the Letterman show. Tori is indeed having some sort of trouble with her throat, and seemed to be in quite a bit of discomfort. After her third round through Jackie's Strength, she appeared to be in significant pain. One can only imagine what a hard time she's having getting through entire concerts.
So my request is this: I know a lot of people have expressed disappointment in the shortness of these last couple of shows...but, singing when sick is really dangerous for the voice, and it was clear that she's trying very hard to get through these performances. So please please please, let's all be grateful for whatever she can manage in the upcoming shows (and it might not be a bad idea to put in a few good words with the faeries and any other powers that be on her behalf...)
From Frédéric Bernier
July 28, 1998 - Well, I'm back to my little canadian french town in Québec after Tori's show. I was really thrilled to go to that show. I will not write the setlist because a few of us sent it earlier but it was short, too short... I was at the meet & Greet (we were about 40-50) and Tori didn't take a lot of time to chat and sign autograph to people who were there (I was one of the lucky who has something that she signed). It was amazing to see her. It was like if I knew her from a long time(even if it's not the case). It was there I first heard about the sore throat and maybe it's why she had not spend a lot of time with us. Well, the devlins were good. They played about 40 minutes and then we had an entract of 45 minutes which was quite long. Then the band came, and Tori appeared on stage. Her voice sounded strange in that song (maybe because of her sore throath) but her voice was beautiful in all the other songs. Tori seems to not feeling really good but I think she gaved us all she was able to give that night. She was energic and her songs were just intense. The highlights of the show was for me China (which was magic, Tori and her piano, wonderful!), Playboy mommy (one of my favorite on From the choirgirl Hotel) and Tear in your hand (with the bubbles, it was beautiful). I heard about the new versions of The Waitress and Horses before the show and I was expecting to hear them and I heard both of them. The waitress is really good, maybe the voice was buried by too much guitars and drums. Horses which I had some difficulties to recognize (and is one of my favorite on Boys for Pele) was not really what I was expecting, the original version is much more better... Then the first encores were done. People applaused for 15 minutes. The lights turned on right after she left the stage and they began to pack all the things but the crowd was still applausing. But Tori didn't came back. I don't know what we were hoping but we still applaused. The show was done. Probably I will not be able to see Tori again on that tour but I'm really happy to have attend to that show. I was kind of disapointed after the show (like a lot of people at the Molson Center) but with time I really enjoyed that show...
From Matt Page
July 27, 1998 - Tori's voice sounded stronger tonight than during the Toronto show the night before. It was still a short show with only one encore. Perhaps Tori was saving her voice for her David Letterman appearance on TV the next day. Tonight's show followed the written set list exactly!
From Natalie Malek
July 27, 1998 - This was my first Tori concert. I didn't get to meet her before and couldn't stay after. I really don't care, I had a great night! The opening band, the Devlins, were good, as alot of people have said. They are the guys who sing 'Outside of Heaven's wall'. There was a long intermission before Tori came out, allmost an hour. She started with 'precious things'. I was really surprised to hear 'Little Amsterdam' next. She said something about "I'm glad to be back in Montreal, I was here when I was five and saw ghosts in the water and talked to them, so I like it here". The lighting is great. There were bubbles during 'Tear in Your Hand'. The disco balls were neat during the new version of 'Horses'. The Waitress was an extened version, with lyrics I didn't recognise. i had never heard 'Sugar' before but I guessed. At one point someone just yelled "Tori" and she waved! People cheered at that. I was in a dream state the whole time.
July 27, 1998 - Tori was supposed to appear in MusiquePlus, a francophone version of MuchMusic, but cancelled to save her voice for the evening. There were abour 35 of us at the meet & greet. The barricades were set up in such a fasion that only 10 people could stand in the first row, of which I wasn't. At least 6 of these 10 people loudly identified themselves as people who had been to more than one show. Some of them had been to Toronto the evening before and knew Tori was sick & would probably do a short meet & greet, as she did in Toronto. Tori arrived at four thirty, I think. All in all, she spent approximately five minutes with us: signing maybe 10 autographs, and taking a few pictures. I am not in the least upset that she wanted to save her energy for the show. What I found really cheap is that the people who had already met Tori several times monopolized those precious minutes and the rest of us --who cannot afford the time and money to follow her on tour-- felt cheated out of the opportunity to say hi, to tell her how much we appreciate her. It was upsetting to see them help each other get to the front, while other ewf were left out, too peaceful to try and fight their way through. [Note From Mikewhy: I have been to 5 shows so far this year and I have also failed to meet her at the meet and greets...so I share some of your frustration, though to be honest I really don't expect to meet her. It would be nice though! I would think that people who have already met her should allow those who have not to come up front. Since I met her in 1996, I would gladly give up my spot at the front of the line to help someone who has never met Tori.]
The show started at 7:30, the Devlins were OK and the croud gave them a fair welcome. Tori came on at nine, wearing black high-heel shoes, strechy navy cargo pants and a navy off-the-shoulder top. She also wore the previously described apron-like silver thing. The croud in the first 20 rows stood up and never sat down. She opened with precious things and, as it has been said before, this song was meant for a band. Then came litte amsterdam, and cruel (a highlight). Through the show, Tori seemed to save her voice, picking songs that didn't require her to sing too high, and using her "head voice" more than usual. She also seemed tired and not as energetic as I've seen her. After cruel, Tori talked and said somthing along the lines of "I love coming to montreal ... I think of you with very warm feelings. I came here when I was 5 and saw ghosts in the water and they're still there." She goes on to present her band, referring to Matt as "the guy who hits the skins". Then came cornflake girl, playboy mommy and sugar. Sugar is just wonderful with the band: the beat really cranks it up emotionally. Tori talked again, saying that she was now going to play a few songs for us. China, a request, and baker baker, were both stunning and quite intimate. Honey makes an excellent transition back to the band, since her musicians are somewhat subdued during this one. One annoying thing is that I had to ask a few people to stop talking through the songs. And one woman with a strange voice kept on trying to vocally compete with Tori ... it was painful. I must also say that the lighting all through the show was impressive and the sound was better than anything I've ever heard at the Molson Centre. Tear in your hand (with bubbles), raspberry swirl, and the waitress --with the new lyrics-- completed the set. Tori did only one encore, playing she's your cocaine and the new, slow, funkified horses. She's your cocaine seemed to be the only song Tori fully got into, she had a cynical/disgusted expression during the "something safe for the picture frame" lyrics. Then, she left. 1h and 15 minutes and no more. The croud cheered for ten minutes straight, even as they were taking down the set. Many, many, of the people I talked to were upset that she didn't play any longer, considering we all payed 47$. Most of them were unaware that she was sick, but some of them knew and were still angry. Nevertheless, I found Tori gave her all and it was a fabulous night.
From Tori Chlumsky (posted on rec.music.tori-amos)
July 27, 1998 - I don't know what happened...But I went to Tori' show at Montreal tonight and it was VERY (I said VERY) short. 1 hour 15. I don't have every song she did, but I can tell you that she did Precious Thing, Little Amsterdam, China, Raspberry Swirl, Sugar, Baker Baker, Cornflake Girl, Playboy Mommy, The waitress........That's everything I can remember.
I don't know for you folks who's been to other Tori' show, but she seems very tired. I was at 20 feet from her and she seems bored or she do not wanted to be at Montreal or whatever. I don't understand because The Molson Center can take over than 15 000 persons and the audience was very into the show.
I went, after the show, on side of The Molson Center to get an autograph...Approximatly 75 persons were there and she gives approximatly 20 autographs, even if the Security guys said that she'll gives one to everyone there.
I'm a little disapointed. It was the third time I saw her, and the other show was better, even if this one was very great (very good sound, the musicians are very good and a beautiful show of lights) but she seems tired, so her show was very short.
Anyway, it was my review and a lot of people who were there think the same thing.
Better luck next time, I supposed.
From Kevin N. Laforest
July 27, 1998 - I'm starting to worry here. Was Tori sick or something ? Her Montreal show was certainly not one of her best. She barely talked to us and, get this, she only played for an hour ! I thought she would compensate with longer encores, but she only came back once. Once ! I'm telling you, the show started at 9 and at 10:25, they were taking down the stage! Needless to say that I expected a little more from my favorite artist...
Still, that doesn't mean that there weren't some good moments. Tori started with Precious Things, a good song though not a favorite of mine. It was a fair start, but she should have begun with Black Dove like usual. Then she did a pumped up Little Amsterdam and a chaotic Cruel. She stopped for a minute for her only story :
" I liked it here. I used to come to Montreal when I was 5. I saw ghosts in the water... They're still here... "
Enjoyable, but kinda short. Next she played her big hit Cornflake Girl. Her singing was good, but she's usually more intense. The band seemed to bury her voice. The best song had to be Playboy Mommy. It was one of the only magical moments, maybe because the song is so personal. Tori continued with Sugar, then she finally got rid of the band. As you might have noticed, I'm not a big fan of the plugged Tori. The guitars are louder than the piano, and the pounding of the drum'n'bass make it harder to listen to Tori's lyrics. Anyway, once she was by herself, it was perfect. She played China because " someone told her to play this " and the beautiful Baker, Baker. I loved to finally get the good old Tori. The band came back for Honey, which I was happy to hear, and Tear in Your Hand. It's a good song, but I thought the band took too much place. I did love the lighting and the bubbles, though. They were jamming so loud that Tori seemed lost. If there's one song that works with the band, it's definitely Raspberry Swirl. I loved the lights, the overwhelming drums and Tori's high energy performance. She finished with her new version of The Waitress, which is interesting though it's hard to get the original feel of the song through all the noise.
12 songs ! You got to admit that it ain't much. And if you look at the setlist, you'll see that she didn't even play musts like Spark, Winter or Jackie's Strength, nor favorites of mine such as Pretty Good Year, Icicle and Marianne. As I said, she did come back, but only for two songs. She's Your Cocaine sounded good, though it showcases more the band than Tori, except during the superb bridge part. She closed with that weird reworking of Horses, which ain't all bad, but you got to admit that the song works better like the way she originally recorded it. And that was it ! We cheered for a good 15 minutes, with no result. Altogether, I liked the show, but it was way too short. It was still worth it, if only to hear Tori's unique voice.
July 27, 1998 - what a wonderful day I just had.
The day started with the short meet and great we were not many (30) which was really great since I could see her very well. She said hi, signed a few autographs and took photos with a couple of people, but she only stayed 5 to 10 minutes so even if we were not many people did not get an autograph and to talk to her: I did not mind too much to not get one it was still a great thrill too see her up and close: she looked very beautiful. What was also great was the people that were there: after the meet we (me and two friends) went to get a bite at the Hard Rock café together with 2 other very nice people that we just met. I also learned that there was a character named Delirium, inspired by tori (wow!). What a great combination: two things that bring out the child in me and my emotions in one great melting pot: I can’t wait to read those comics.
Even if the concert was held in a concert arena they managed to make kinda intimate. Then Devlins played: they were O.K.. Then, after a 45 minute intermission the concert started. I am not sure about the order of the songs, sorry. She and her band started with Precious Things: I had tears in my eyes, it is impossible for me to put in words anything more to this song. She did some provocative gestures which was really sexy, thought. Little Amsterdam followed: a very rare song in concert I believe it made a nice transition from the first song. I believe cruel followed that and then sugar (which I had never heard before, I have none of her singles) and then, after the song, she said the following: "I came to Montreal when I was 5 years old and I saw some ghosts here, I still see them. I love this place." I would really like to know what is all this ghost thing means (IF a heard correctly). Then came liquid diamonds: I am really starting like this song. She then played (someone requested it so she said) China: very, very, nice. Lots of people lit up there lighters: I will keep a very good memory of this song. It is kinda ironic that her next concert will be in New York …all the way to New York. And then Backer Backer was wonderful. Anyway, then came Conflake Girl, sometimes she had a bit of trouble of hitting the high notes but that did not affect the global picture of the song (I heard she had a bit of trouble with voice in the Toronto concert: I hope it is getting better). Then came Honey, Raspberry Swirl (I prefer to hear her voice not altered as it was in the concert song). Playboy Mommy was nice but The Waitress (which she had completely redone) had some hard spots that were too hard ( I did not hear her sing) but the soft parts were interesting. The encore had She’s your cocaine ( I never really liked this song, I don’t know really why) but I must admit for Horses I do like this remix: The disco balls with lights was great. The great strength of the concert was the diversity of the songs: not concentrating a particular album… The crowd stayed for 15 minutes after wanting a second encore but it did not happen: but for the few people that bowed when there was no second encore I have to say this: that was not very nice, yes the concert was a bit short but give Tori a break. Also, thank you for this site it is truly great (I have made a link to I on my web page).
From Carly Franklin aka Jupiter
July 27, 1998 - I just got back from the Montreal Tori concert, and my gf took the time to write down the set list for me. After the show, we also got to meet Tori, who was very hoarse after having done a show with a sore throat. She was, as always, very sweet, and all smiles. During the set, she did a couple of requests from fans including China and Baker, Baker. Then, during Tear In Your Hand, there were bubble machines shooting bubbles into the air, which was really cool! So, here goes the list:
1. Precious Things
She only performed one encore, assumably because of her problem with her throat, but everyone was still thrilled with her performance. I never thought I'd meet someone famous that wasn't intimidating. I'm glad it was her. :)
From kapfer (KISC)
July 27, 1998 - Here is a review from a Canadian (and French) Toriphile. (Sorry for the mistakes I make in English, I usually write in French) Set list for the Montreal show at the Molson Centre on July 26th.
1st and only Encore
13-She's Your Cocaine
This was a long but great day and a short show. With two friends, we first tried to catch Tori at the interview she was suppose to give at the local music channel (Musique Plus). However, it was cancelled, I later heard this was due to voice problems she had experienced since the Toronto show, but that is only a rumor and I don't know what is true in that.
Disappointed, we decided to walk to the Molson Centre. There, we met two nice people that asked us if we knew where the meet & greet was. I had heard of it but had made no real plan to search for it, however we followed them around the Centre Molson only to find a bunch of 10 or 15 people waiting near a huge garage door. We stayed. As police officers started installing barriers, we knew we were in the right place.
We waited 50 minutes before Tori showed up, at this point we were at most 40. I had calculated that if she only took 15 minutes (the average time for meet&greet in other cities) of her time, she could easily talk to everyone there. I was wrong, she was there for 5-6 minutes at best, she talked to the people in front, signed some things, two or three persons were able to take great pictures and she was gone. I can say there were a lot of VERY disapointed fans (including me) since they had told she would be gone faster if we behaved foolishly, and I think I didn't saw any pushing or anything from the people there.
However that was the occasion to meet really nice people (Hi, Melanie & Martin). At that point we took a break before the show. At the entrance, we were asked to open our bags for recorders or cameras, I was really afraid cause I had a recorder in my bag, but they saw nothing.
I was seated in the last row on the floor near the center (20th row) and I can't complain about my seat, I saw all I wanted to see. The Devlins did 6 or 7 songs, they spoke in French and that is a good way (in Montreal) to get the crowd on your side. I didn't pay much attention to that, I was preparing my recorder for the real show.
She started, with Precious Things, with the band, this was really great. From the first note on until the end of the show, almost everyone on the floor was standing, I think the seats were of no use. After that she presented the band. She then played Little Amsterdam and Cruel, the latter being so powerful... Then she told us she had come to Montréal when she was 5 years old. She said there were nice ghosts in the river and they were still there after all those years.
She continued with Cornflake Girl which sounded really like on UTP excpt it seemed she tried to avoid singing very high (at the beginning only) Once or twice she somewhat "roared" during the songs, but I don't remember the ones and I haven't got time to listen to what I recorded. Playboy Mommy was nice, then sugar was really fantastic with the band even if it took some time for many of us to find out what song she was playing. The band left, she performed China (I've never find it so beautiful) at the request of someone she said. She did Baker Baker, which was incredible, no one expected it. The band then returned and they started on Honey, this one to sounded pretty much like what we hear on the singles, I loved it. The following one: Tears in your Hand had a strange intro to it and was accompagnied by falling soap bubbles on the stage. Combined with China, I think those are the highlights of the night (for me at least). Rasberry Swirl was deafening, but incredibly powerful, the beat sounded like a techno band. She ended the first part with a very long version of the Waitress with a lot of improvised lyrics no one could understood. The sound was very loud and I guess if one didn't knew the lyrics for this song, they surely understood nothing at all, the "I believe in Peace..." was simply covered by guitars and everything else. This one was also incredible and she put so much energy into it. The band then went up front, bowed and left for 1 or 2 minutes.
She came back for the encore, performed She's Your Cocaine and the completely revamped Horses I recognized only from the lyrics, I think I like this version more than the one on BFP. Then she left again, and everyone started clapping hands calling for "Tori, Tori". Many of us expected 2 encores as in the other shows, but as soon as the piano was wrapped up, we knew it was over (even if she could still have performed accapella). It lasted less than 1h30, I think as many said, it was a bit short. People were expecting two encores. If she had played only one song for a second encore, I'm sure I would have heard nothing bad about the show and surely never heard any booing when people left the Centre Molson. Being my first time in a Tori show (I couldn't attend the 1996 Tour in Montréal due to a really heavy examination schedule), I think it was great, not only can I enjoy her music, but it's a wonderful occasion to meet other fans, things that seems to be quite difficult in everyday life around here. I wish I could go to other shows, but that's it for me for the Plugged 1998 Tour.
I hope she will come back soon
July 27, 1998 - I just returned from the Tori Amos concert in Montreal and thought I'd drop the playlist and a small review. It seems to be a bit different from the others--only one encore!!! Well, here it is:
The show overall, though short, was incredible. Tori glides back and forth between a piano and a keyboard positioned on either side of her, stomping her right foot and occasionally jumping up to offer a pelvic thrust or two. She appeared to be bubbling with energy. However, she didn't talk much in between songs--she did mention she had a special place in her heart for Montreal since, "I came here when I was five and used to look at the ghosts in the water. And they're still there." Indeed. The band consisted of a guitarist, a bassist and a drummer (of which rotated between a traditional set of skins, to some conga drums, to a steel can). The lighting energized the deep crowd, creating patterns of dancing colors everywhere. During "Tear In Your Hand," they even had hundreds of bubbles pumped out to float down to the stage. The highlight had to be the version of "The Waitress," though, which was drawn out to almost mantra-like status. I expected another encore, but am still satisfied with an incredible evening. It was my first Tori Amos show, but it will hardly be my final excursion to journey into her world.
From Lemoine Patricia
July 27, 1998 - The concert in Montreal was last night .
The Devlins were playing for the first part and then the Goddess made us wait for almost 45 minutes before she finally appeared on stage .
But it was worth it . I don't have the exact set list in order , i was mesmerized , i couldn't have written , because i couldn' take my eyes of her.
We only had one encore and she didn't talk much between songs because i heard she had a sore throat ; she was supposed to give an interview on MusiquePlus ( our sort of MTV , more like MuchMusic in Toronto though) but it was cancelled . The only time she talked was to say that she came here in Montreal with wondeful feelings because she fist came here when she was 5 and went feeding the goose . She also said that she went by to say hi and that they were still there .
I had a wonderful night , but i would have liked a second encore and maybe more talking between the songs but i think we felt that she gave her best , as always and that she seemed suffering from her throat .
She did an amazing interpretation of China and a version of Horses which just blew me away , my favorite one was Playboy Mommy because we could truly feel her sadness and compassion . She just ripped her flesh in a tremendous version of The Waitress .
I was blown away , i had a wonderful time.
From Katrina Enros
July 27, 1998 - Dearest Mike,
Tori was wonderful in Montreal, but her concert was very short allegedly due to a sore throat. She only played 14 songs (one encore) for us, but everything was beautiful and touching despite its brevity. Here's the set list:
Encore: She's Your Cocaine
Hope this helps in your compiling of set lists!
July 27, 1998 - i saw tori's show in montreal last night....here are the songs she played (this is probably not the exact order...but hey i was so excited!) i may have forgotten a song too....i dunno.
unfortunately, tori was sick (i heard there was something wrong with her throat) so there was no second encore :( i was kind of disappointed and frustrated because she only played something like 1 hour 10 min (including the encore) (my ticket cost me 50 bucks) and i was expecting more....she didnt play iieee...she didnt even play spark...and i wanted her to play space dog so bad!... oh well she looked beautiful, as usual, and the show was awesome and incredible even though it was a bit short. it was my first tori concert and i cried while i was watching her play and sing because it was too beautiful.....she's an angel. i just love her. :)
July 27, 1998 - Just wanted to send you the set list of Tori at the Montreal show yesterday.
The show was just incredibile. The light was really nice. Tori was beautiful, amazingly beautyful! :)
From Sophie & Hugues (posted to the Tori.Misc newsgroup)
July 27, 1998 - The show was ok.
The lightning was amazing!
Tori gave a lot of herself!!
but she was cold (she did'nt talk to the audience)
the show was to short
and, this is the worse, the sound was really bad when the entire band was playing. It was OK when she was alone at the piano but the band sound too loud (a little like "Megadeath")
We were really looking forward to see this concert, but we are deceived.
Tori, we hpoe to see you again, on a little stage, with your piano...
From Guy Barrette (posted to the Tori.Misc newsgroup)
July 27, 1998 - Sunday, July 26th. Montreal show.
45$ for a 60 minutes show + a 2 songs encore !!!
The sound is so lound that you can't hear her voice.
People were really not happy when the lights came back.
I'm a big fan but I know when I've been ripped off. Saw her twice before and nothing compare to Tori alone with her piano.
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