Tori performed in Oakland, CA on November 12, 2001 at the Paramount Theatre during the 2001 StrangeLittleTour. This was the second of two nights of concerts in Oakland.
The set list below comes from Richard Handal, who called me after the show. Thanks also to Josh Lindsey for being the first to email me with the set list.
'97 Bonnie & Clyde
Latest reviews are added to the bottom of the page.
From Richard Handal
Added November 13, 2001 - The show started at 9:13PM and ended at 11:02. The debut for this tour was the Neil Young cover "The Needle and the Damage Done". (Note From Mikewhy: I am not aware of Tori ever doing this cover, at least during the last 3 tours!)
From Josh Lindsey
Added November 13, 2001 - "Needle and the Damage Done" was on the Wurlitzer organ.
Sounded like a bit of Elvis Costello's song "She" before Honey. Somebody requested that song at the M&G.
From Lisa (MrsMalkav)
Added November 13, 2001 - Debut: Neil Young "The Needle and the Damage Done"
Tons of old stuffs - pretty much a full collection of all my favourite songs from past albums. Very pleased! She only did two tracks from SLG ("97..." and "Rattlesnakes") and no more covers beyond that.
Very different from last night.
I felt that the first 6 songs seemed to have a theme of sorts (regarding the plane crash today?). She said it was a "crap day" and wasn't at all as enthusiastic as yesterday. Still very powerful and moving.
Added November 13, 2001 - hello! I just wanted to let you know that though I have not e-mailed you before, I have used your site often, and I love how it keeps me so informed and up to date on Tori. With that in mind, tonight I just wanted to drop you a line and let you know a little something from tonights concert in Oakland. Though I didn't write down the set list (it was a little dark, and i'm sure someone will let you know soon enough), Tori clued us all in on a few things. Well she confirmed that it was a crappy day, and that Tash had spilled her strawberrys all over back stage, and that her mom had surgery, but was hanging in there. I wanted to write and tell you that so that maybe we can let the ears with feet know that we should keep Toris mother in our thoughts, prayers, well wishes, meditations...and what have you. But Tori set us all at ease when she let us know, that it was all ok, cause we were there together now. The concert confirmed this sentiment. It was powerful, and it took my breath away. She played some of my dear favorites such as (these are not complete, and not in any order, as my mind is still spinning from all of it). Putting the Damage on, Honey, Frog on my Toe( which she introduced by saying that it was a song about her favorite person , well besides Tash, and that he still comes and sits on her shoulder), Flying Dutchman, Black Dove/ January, Spring Haze, a version I believe of Needle and the Damage Done (Neil Young), Rattlesnakes, Little Earthquakes, Beulah Land, Doughnut song, Little Amsterdam,Jackies Strength, and she finished fittingly with Mother. It was so moving, so beautiful and so powerfully strong tonight. Last night she was wonderful, but tonight she was phenomenally powerful, and her voice was full of passion. It was really amazing. Thank you for your dedication to this woman, with your beautiful site. Blessings- Janelle
Added November 15, 2001 - As a reporter, I never know what to expect from the world on any given day. However, I was very surprised throughout Tori's show, before and after, at the Paramount in Oakland, CA. First of all, I went to the show for 2 reasons: the first reason was to get my story. I've done my homework, and instead of doing the menotenous review that's been done repeatedly by many other great journalists, I decided to take a very different approach to writing my piece. 'The Fans'. As I have studied, Spin did a piece about the fans,well lets just say it's possibly a piece of crap, considering that it probably hurt some people. But, hey, whatever sells mags...eh?? The second reason I went was because I had a message for Tori. As a young girl, I could always hear the voice of GOD; not to say that I didn't rebel from it because, well I did. But that's behind me now, and I hear GOD clearly. And for some odd reason, GOD has given me a heart for famous people. Not by my choice, that's for sure. But he wanted me to tell tori that he loved her dearly. I was a little taken aback considering her history with the judgment she has endured from the church. But GOD was adiment about it. As I saw her on stage, I knew immediatly there was a problem in her heart. So when she told us that her mom had surgery, I knew then why I was sent that day. After the show, GOD opened a space,so many people, and there was my name in front. I stood feeling kind of foolish; personally, I never would stand there like that, no offense to those who enjoy it. It was very humbling. And there she stood. She looked as if she were 12 years old, My heart could see a little child wounded and afraid, practically silenced by the nature of her condition. I said, "Tori I have a message for you," and an immediate hush fell, it truly was as if the world stopped,you could have heard a pin drop, then I said, "I have a message from GOD." Shocked, everyone that could hear me, crooked their neck and wanted to know "the message." Tori stopped and waited, and then I told her that GOD loved her dearly and that he was there for her. At that moment she started to cry like a broken child. And GOD'S spirit was there. As I walked away that night,I prayed deeply for her, and for a few of the precoius souls, 'The Fans', I met that night. Truly GOD showed me his love for those babies. Thank you Richard Handle for that wonderfull interview,the tickett, and just the precious time you spent with me. And Thank you DOR for your interview, and that fire in your belly that you clearly contain. GOD BLESS YOU ALL...
From Nadyne (Posted to the ToriNews mailing list)
Added November 15, 2001 - I almost didn't go. I had the comp tickets, yes, but I was tired and feeling generally icky and not ready to handle the world. My deciding factor in going was that someone wanted to buy my extra pair of tickets, and we had to meet at the venue. So I picked up my roommate, and we drove up to Oakland.
I had a pair of comp tickets from the fine folks at RAINN, as a result of the ToriCon RAINN auction. I picked them up from the box office, saw that they were in row X, and figured that meant I was in the 24th row. It was an upgrade from my existing seats, so I was pleased.
The chick who said she wanted my tickets never showed. *grrrr* I waited outside the venue for a long long time, ran into Robert Kane (who taped both of the Oakland shows, woo!), chatted with him for a bit, missed Rufus' set. I finally sold my extra pair of tickets to a scalper for twenty bucks. I was kind of annoyed at it, but whatever. It paid for my gas back and forth to Oakland for the two shows, right? And it turned out to be inconsequential in the grand scheme of things.
On the way in, I stopped by the box office to see if there were any untaken tickets. After all, if I was in the 24th row, why not see if I could do a bit better? The woman gave me a really weird look, which I interpreted as her being tired and probably pestered by Tori fans. Her look turned out to mean, "what, you want to be on the piano bench next to her?!".
Inside. I showed my ticket to the usher at the door, who told me to go down to the front and we'd be seated by the usher there. Confused: why would we go all the way up to the front, passing our 24th row seats? It bloody well did not occur to me that my tickets were better than I thought. I even stopped to ask another usher on the way to the front. But then, then, then. We got to the usher, showed her our tickets, and were escorted to our seats. Front row, three seats to the right of center. And, of course, Tori faces right most of the night. I nearly wet my pants. Rosser and I sat there in stunned silence for a minute, before we started bouncing at our absolutely incredible luck.
The show. What an incredible show. I haven't sat this close since the DDI tour, when I had second row seats at the last Atlanta show. I had forgotten how much more you get out of the performance when you can see her facial expressions. Two nights, two shows, and only two repeated songs. Incredible, brilliant.
"'97 Bonnie and Clyde" -- Up close, watching the play of lights off of the ripped curtain is an entirely different experience. I found myself watching the character picture on that screen almost the whole time, studying her clothing and eye makeup. Curtain dropped, Tori walked out. I thought to myself as she walked out that she looked really tired. I may have been right (more on that later), but the intensity of the night overwhelms that.
"Little Amsterdam" -- She played both keyboards, including pedalling both of them again. I noticed that she did the same on "Concertina" the previous night and was impressed. Besides being technically difficult to work both keyboards like that, Tori was definitely into this performance.
"Flying Dutchman" -- The intro, I recognized it, held my breath. During the ending, she sang that they can't see your heart. Again, Tori was definitely into this song. This was a sign of things to come, since Tori didn't let up the whole night.
"China" -- Before the song, she told us that it was just a crappy day. At first, I thought she was just talking about the weather, since it had been absolutely pissing rain all day. But she talked about Tash getting strawberries and cream all over backstage, and then said that her mom had surgery earlier in the day but was holding on. Then she launched into China.
"Black-Dove (January)" -- I was always ambivalent towards the album version of the song. It works much better live. Intense.
"Take to the Sky" -- She played the intro and thumped the rhythm with her right hand on the Bosey. The audience clapped along, although they lost the rhythm. As my roommate pointed out later, it's hard to clap along with someone who plays with the rhythm as much as Tori does. My list of favorite Little Earthquakes songs is a constantly- changing entity, and has at one point or another had every song except "Precious Things" at the top. For right now, though, this girl is at the top. So full of energy. Watching Tori tip one eyebrow as she sings the chorus just adds to the flavor of the song.
"Spring Haze" -- The only Venus girl of the night, and she led perfectly into ...
"Little Earthquakes" -- There are no words to describe this. These two songs fit well together.
"Rattlesnakes" -- The only other girl from the new album to make an appearance tonight. I wonder if she did this one because of the San Jose reference.
"The Needle and the Damage Done" -- As she sat down at the Whurley, she said she was doing this song for someone for whom she had a lot of respect. It's a cover of Neil Young. Very very well done.
"Me and a Gun" -- Another instance where being right up front is an entirely different experience than being further back. Watching her face throughout this song was just enthralling. I've always had mixed feelings about her doing this song so much, but not tonight. The audience was absolutely silent throughout.
"Hey Jupiter" -- Both keyboards, both pedals. Very effective to play one keyboard, play both, then play the other. It adds such a dimension to this song. She added an extra chorus of "ooohs" after the first verse. Heart-felt.
First encore: "Beulah Land" -- This is a bee-side that I never really got into. I spent this song watching her expression and just letting the music wash over me. I'll have to give this girl another go later on.
"Frog on My Toe" -- Before singing this, she said that it was for someone who hasn't been with us for awhile, but that he was always right here (as she pointed to her right shoulder). Listening to it, I wondered how heavily her mom's surgery was weighing on her. The next song answered that question.
"Jackie's Strength" -- The second Choirgirl of the night. This time around was intense, emotional. Again, Tori's facial expressions made this song. Although I realize Tori was thinking of her mother as she sang it, I couldn't help but think to my own life and hope for that same strength. This is one of the reasons I am so attracted to Tori's music: you do not have to be in the exact same situation as Tori to get meaning from it.
Second encore: "Putting the Damage On" -- I spent this song, and the rest of the encore, literally on the edge of my seat.
"Honey" -- Yesyesyes. An already fabulous night got just a little bit better, and Tori's little half-smile on certain lyrics ... oh yes.
"Mother" -- This was the only closing song that Tori could have done tonight. Emotional, intense, fitting.
Afterwards, standing there. Still caught up in the performance, caught up in the incredible luck of having such great seats, caught up in the experience. Over the course of the show, Tori took my heart, gave it a good wrenching, then carefully put it back in place and reminded me that any healing is something I have to do for myself.
This show, the thirteenth Tori show I've seen (which, I realize, is nothing compared to some of y'all), was the best one I've seen so far. Amazing. I'm still processing it.
From Kevin Hawkins (Posted to ToriNews mailing list in response to Nadyne's review above)
Added November 15, 2001 - You saved me a review. :) I've taken to bringing my journal along with me to shows and kind of documenting as I go, to keep the feel of the whole thing. It elicits strange looks from people, but it's important to me, so I don't really mind. :)
I actually remember wondering if you were at the show...I think I remember you posting about having tickets for sale. Given your seating, I can say that I probably saw you (I was in the 4th or 5th row of the normal seating on the right), though I don't always remember faces. Congrats on the tickets. :)
Your review pretty much summed up my feelings. She hit me with so many songs that I really wanted, most specifically Flying Dutchman; I had been thinking not 15 minutes before that it would be great if she came out.
Tori was doing some mind reading again. :) But Little Amsterdam, Mother, Take To The Sky, Putting the Damage On...she managed to hit so many of my favorites.
I could tell from her facial expressions during Jackie's Strength that she was in that song...she was there, and that's the only way I could describe it.
One thing I did notice was that I think her voice is getting tired...she skipped a lot of high range, where it's high range that she has to belt out.
It also seemed like she sang MAAG a couple of steps down from normal. I also noticed that there was another mic snafu at the beginning of MAAG, where the mic didn't come on at first. What a terrible thing for her! She prepares herself for that delivery, that challenge, and she gets a false start. Ugh.
Hey Jupiter is a different song with the Rhodes, and I love how she changes up the chords with it. I am in musical awe of how she blends the Rhodes and the Bosey in Rattlesnakes. Not only does she do it seamlessly, but IMO so appropriately in the handoff. What a tremendous gift.
It should be noted that she introduced Honey with a line from "She" by Elvis Costello (or whoever else's version you like...written by Charles Aznavour). I think it was "She/May be the face I can't forget/A trace of pleasure or regret," but I can't remember for sure.
Okay, so that was sort of my own review anyway. :) I figured I'd send some follow-up notes. What an awesome couple of nights! I can't wait 'til Friday!
From Lois Langevin
Added November 15, 2001 - Not The Red Baron was on the set list after Needle and The Damage done and before Jupiter, but she did not perform it. Tori seemed worried last night. Some ofthe songs were shorter and the show seemed to be mre water as apposed to Sunday which seemed to be fire. Both shows were beautiful in their own right. I felt Tori's presence was more stable on Sunday. I am sad I am not going to LA. Hope all is well with you and Amanda. Great site, thank you for years of hard work.
From Richard Handal (Posted to the Precious Things and ToriNews mailing lists)
Added November 15, 2001 - Hi, All:
So, having left the tour after the Cleveland show, I managed to find my way out to the west coast to pick up again in Oakland.
The two shows here were top notch, with the main feature of the second one being that it was the most personal show I'd seen since Charlotte. After performing a highly dynamic version of Flying Dutchman, Tori spoke and said her mom had had surgery that day, and that she was "hanging in there." She tried to make it sound as if it wasn't playing heavily on her mind, but it clearly was.
She squeezed more much out of China than I'd ever heard before, and Doughnut Song this second night in Oakland was *the* best version I've experienced: It was mega-expressive, with a long section of repeating "Come in, Houston," etc. I wish I had taken better notes so I could tell you more details about that.
This she followed with Spring Haze, and I felt silly but found myself writing "best ever" next to it in my notes. But it *was* the best I'd ever seen--clearly. And that's the main feature of this tour. She's letting the songs have new voices, and many of them now feature sections which are distinctive in a manner I never heard before.
Although she's always been fluid with tempo--even to the extreme--it tends to be more formalized now. These days the songs are performed with much deliberation, and she'll often allow the sections to be sharply separate, each with their own tempo and colorings in a manner that has, for me, allowed the sense of the lyrics to come across as never before. It's wonderful seeing these concerts, and this is one of the main reasons. Everything old is new again.
At this second Oakland concert she spoke of her grandfather Poppa Copeland, said he was always with her on her shoulder, performed Frog On My Toe, and later ended with a deeply heartfelt Mother. My thoughts are with her wishing her a speedy recovery.
Be seeing you,
Richard Handal, H.G.
From alexandra phillips
Added November 15, 2001 - Nobody mentioned that before Tori sang honey, I think it was, she sang about having to pee. Also, she shanged the words to honey. She sang "cowboys know, cowgirls ride on the indian side." It was a great concert but there was a group of poeple who were laughing, espeshaly during "me and a gun" in the back in the balcony.
From Daryle Carlson
Added November 15, 2001 - This was my first time for a Tori solo show (logistical problems prevented me from going to any of the pre-1996 shows), and my first time for a show at the prestigious and aesthetically pleasing Paramount Theatre. Officially ordained a California historical landmark, the facility lived up to its billing as being one of true lasting remnants of art deco design. The place was like Camelot - one had the feeling of being a royal guest upon entry, despite being searched left, right, up and down at the palace gates for cameras, illegal paraphernalia, recorders, bayonets, sabers, etc. The palace guards were not completely successful in searching everyone, as will be described below.
I was fortunate to have a third row ticket for this engagement. Of course the scalpers outside were offering tickets located in the projector room at the back end of balcony for hundreds of bucks, and I could've sold my ticket for a kingdom or two. But being that I ended up with this ticket after a "database failure" prevented me from purchasing a ticket online for Sunday night's show (thank you Sir Ticketmaster), I felt that giving up the ticket would classify as "selling out," much less be an emotionally damaging act. You should never turn your back on divine Cyber justice (I work with computers, trust me on this!).
I was so close to the stage that I could've just as well have been sitting at the roundtable. Soon Rufus Wainwright hit the stage. A true knight among men, Rufus sang like an angel, with marvelously eccentric French guitar lines complimenting him the whole way through. The sound of the hall was so crystal clear - it had without question the best acoustics of any facility that I have seen a concert in. In between songs, you could actually hear what Rufus was saying, as opposed to what you normally hear at most muddy concert facilities, which have acoustics that make the clearest voice sound like a ceaseless mumble. Rufus was truly a good opening act for Tori.
After the Rufus set I went to the restroom, and I soon realized that despite Rolls Royces, microchips and genetic engineering, the human mind, at least in most cases, has not figured out that when constructing a concert facility, that the proportion of female restrooms to male restrooms needs to be to a ratio of 2 to 1. The lines were backed up as long as a Tori Meet and Greet line. I remember thinking to myself while I was in the men's restroom: "I have never seen so many free and open toilets!" Needless to say, many female Ears With Feet were taking full advantage of the open units, and this reporter, out of sympathy if nothing else, did absolutely nothing to discourage it.
There were some delays, but finally the house lights went out. Then the neon stage curtain appeared, with rips up and down it like a pair of vintage Def Leppard blue jeans. A flag-like cloth hung in front of the curtain, with a picture of Tori's Sharon Tate look-alike character for Eminem's "'97 Bonnie & Clyde." The recorded song ominously played in it's entirety, until its thunderous ending dropped the curtain.
You have never seen stage hands move so fast to remove a fallen curtain, and I was amazed that nobody put on a Gong Show performance by tripping on the massive cloth in front of the whole audience. Soon Tori appeared, in an outfit that just seemed to match her makeup: part business, part sensual mystical goddess. Tori shows are so much about balance, and Tori always seems to insist upon it at the get go with her appearance. She sat down in front of her cherished hand made Bosendorfer grand piano (which is worth more than semiconductor plant), with a Fender Rhodes behind her and a psychedelic looking Wurlitzer off to the side, where she proceeded to begin the night's entertainment....
1. "Little Amsterdam" - from "Boys For Pele." This song followed the Eminem song perfectly.
2. "Flying Dutchman" - an outtake used as a b-side from the "Little Earthquakes" period. This was the first time I have heard this much acclaimed number, and it's unfortunate that it is so hard to get now - marvelous song. This tune, in addition to many of the other "Earthquakes" outtakes that are now hard to come by, is yet another reason why Tori fans need to have a b-side/outtake compilation some time soon before the release becomes like the recently completed gazillion disc Grateful Dead box set.
3. "China" - from "Earthquakes." Moving as always.
4. "Black Dove (January)" - from "Choirgirl." For the first time Tori began utilizing both arms - one for the Rhodes, one for the "Boosey." Like most Ears With Feet, I get emotionally wrapped up in these songs, but we must never forget that when we go to a Tori Amos concert, that we are witnessing one of the greatest musicians in the world, in any genre of music. There is nothing that the Peabody Conservatory can teach you (although Peabody I'm sure would like take credit for teaching this to Tori) that will enable you to finger Bb6/9 chords while playing a Rhodes with your right hand while playing unconventional scales on a ultra sensitize grand piano with your left hand, and all the while singing damn near as well as Phoebe Snow while never once looking at what either hand is playing. Oh, and by the way, did I mention that every note was picture perfect, and that everything was in key? These are the kinds of things that make guitarists like me put down the instrument for months.
5. "Take To The Sky" - an outtake and b-side from the "Earthquakes" era. One of Tori's favorites and one of my own. Great song in concert.
6. "Doughnut Song" - from "Pele." Nothing is better than having Tori play two of your all time favorites back to back.
Before starting the next tune (I believe this was the point), Tori mentioned that it was a "crap day" because her Mom underwent surgery, and that her daughter once again made a mess with the strawberries backstage. She didn't say anything about the people on the plane who perished in Queens that day, but I'm sure this also contributed to her "crap day." But she said that seeing familiar faces and being able to play for us made things all better. She then launched into:
7. "Spring Haze" - from "To Venus and Back."
8. "Little Earthquakes" - from the album of the same name. Cathartic to say the least. I loved how during the solo section she played the exact same notes on the high end as the guitar solo lines on the record itself, while playing the normal piano chords on the low end.
9. "Rattlesnakes" - from "Strange Little Girls." Probably the second greatest highlight of the evening. She combined the Rhodes and the "Boosey" on this one again. Like Tori, this tune has turned into my favorite number on the new CD.
10. "The Needle and the Damage Done" - Neil Young cover. She marched over to the Wurlitzer for this number. Tori said that the "Wurley" was played at Woodstock by the folks in Country Joe and the Fish, and that "Wurley" and her were proud to be playing a song from a guy that they so very much respected.
11. "Me And A Gun" - from "Earthquakes." I have obviously seen the performance of this many times on video and TV, but seeing it live is beyond the beyond. Yes, there were no flash photos or cell phones. The room was so silent when she sang this acapella gem that if you placed a tarp over the audience, you wouldn't know that anyone was there. Nobody even attempted to reach for a tissue, even though hundreds and hundreds of folks needed to. Unbelievable. I can't think of anything I have heard on a concert stage by any artist that was at this emotional level. This is the "Strange Fruit" of our generation folks, and I am positive that Billie Holiday, if she were alive, would have felt the same.
12. "Hey Jupiter" - from "Pele."
13. "Beulah Land" - an outtake used as a b-side from the "Choirgirl" era.
14. "Frog On My Toe" - an outtake used as a b-side from the "Pele" era. Tori mentioned that this one was about her favorite person, besides her daughter.
15. "Jackie's Strength" - from "Choirgirl."
16. "Putting The Damage On" - from "Pele." This one has always made me sad, though not as much live because the record has that "grieving-like" horn part at the beginning.
17. "Honey" - an outtake used as b-side from the "Under the Pink" era. Tori's favorite song that was written for "Pink," and one of my all time favorites. This is another thing that all Ears With Feet need to continue to appreciate: when musicians usually have outtakes from their albums, it's usually for a reason - the songs suck. The extra songs may end up as b-sides, but they are poor value for the money. Needless to say, Tori b-sides might as well be tacked on to the end of the individual albums. I can't imagine the torture that Tori must go through when picking out tracks for an album when she continually has this much good material to work with.
18. "Mother" - from "Earthquakes." No doubt played in tribute to her Mom, who was recovering from surgery that day.
A few more general comments. I really wish that people would not bring cameras to concerts of this nature. I am sure that Tori could care less about the business side of people taking photos of her while performing. Why can't people understand that it is distracting to the audience, and while it is not as bad as firecrackers, laser pointers and used bottles of Lord Calvert, it is unbelievably distracting to a musician. The fact that Tori can pull off the music every time despite the irritating flashes is beyond me. But some people need to think of what Tori thinks from the stage in terms of wanting to put on the best performance for everyone, as opposed to thinking just about themselves and their personal photo collection. I don't mean to rant here, but something needs to be said about this.
I wish to also mention something about the sound. Not only does Tori's husband do a fantastic job at the board, but none of Tori's concert videos have ever done justice to her "Boosey." The bass pedal on her piano by itself sounds so vast - almost as if a bassist were playing beside her. And her playing style does change when she is a solo performer. She picks up the slack by changing the notes and chords slightly in order to create an enormous sound that makes the listener feel as if more than one person is playing the keys. Nothing sounds thin.
Lastly, I wish she would've played more songs from the new CD. It seems as though she is not exposing her new work as much this tour, which I can't believe is helping record sales. I do not know the reasoning behind this, but I find it very strange. Perhaps it has something to do with the fact that the songs on the new CD are covers. But then, it is her new CD, and this tour is supposed to be, in theory, to promote it. But I am sure she has her valid reasons.
I stayed behind for the Meet and Greet afterward, even though I didn't get out of the facility in time to have a chance to get in line. It's unfortunate that people often have to leave during the second encore in order to have a shot at meeting Tori and getting something signed - but that's popularity for you. I just positioned myself across the street and talked with fellow Ears With Feet. Tori had a ski hat on, because it was pretty cold. She was very brief as I am sure they needed to get down to L.A. fast due to all of the promo stuff that needed to be done in between concert dates (Leno, etc.). Tori made sure to wave to all of us before getting on the bus, which left me with one thought: "How can a person that little be so larger than life on stage?" I'm still trying to figure that out, which probably explains why I am writing this concert review (which has gone on too long!) instead of playing the stages of the world!!
Added November 15, 2001 - OK...this show killed me. I really don't know if it was my seat up front or if I just liked the songs better or what. The previous night I had row M and felt disconnected. For the second night I was two rows behind the pit, and of course much of the time it's like Dammit she's staring at me, even though she probably can't see 4 rows back. But when not looking at the audience, she is facing the piano, eyes closed, focused...I don't know how she plays without looking, much less when she does it with two keyboards.
Anyway, I forgot my binoculars the night before and didn't feel like buying another pair at the show, so it was good to be able to see all her facial expressions for the second night.
I can't do a lights breakdown for this show, I just can't remember it...I had to try to find a balance between concentrating on her singing, her lyrics, her playing, her face...so much and so easy to get lost in any one part and not recognize the others.
'97 Bonnie & Clyde
Definitely different up close...you don't have the front lights searching on you from there
During the first it wasn't my bullet she pointed her index finger downwards over her crotch...um...yeah ;)
Every time she switched keyboards during "Which side you're on" I cracked up. It was just so cool.
What she said about What a crap day, huh? has been covered already...
I can't believe I lucked out hearing this one. Purple lights too, yummy. I swore I would remember the head up high part and I can't. Wah.
OK...I know the whole flying/air theme had started already, but when she very deliberately sang the first all the way to New York I finally started crying. She then proceded to continue killing me til Rattlesnakes when I managed to calm down.
I think I like this with the band more...just cause I love the big lights and stuff that come up...here she started belting it during the second other part of the galaxy. This is one of my favorites from choirgirl and I was delighted it showed up.
Take To The Sky
More up in the air theme...
Come in Houston...aaaaaaaahhhhh
My favorite from venus. I started sobbing, and now I'm tearing up just thinking about it. And again yes she's looking in my direction, impossibly straight at me and constantly telling myself dammit no she isn't, while she sings and I found out where my edge is...and it bleeds into where you resist...and then again for why. does. it. always end up like this. The second time she did the line, she smiled and laughed.
The waiting on Sunday to get creamed/drown just added to the eerieness because of the Monday plane crash.
BLAAAAHHH after this one I was able to calm down ;) I hate people singing around me, and for Spring Haze and Little Earthquakes it was really hard not to belt it along with Tori. Focused on crying silently instead ;P
Whew...finally OK. Yes, it was depressing, but after that comes healing, for me at least, and it is good. I was distracted during Concertina the night before, so I was glad to enjoy watching her play the Bosey and the Rhodes at the same time for this one.
The Needle and the Damage Done (Neil Young cover)
I didn't know this one at all. I was amused to get home and see zillions of pages of speculation about it.
Me and a Gun
I don't hear a deep pain coming from this song unlike other tours...to me it's like, this has happened, calm but sad, and now what. That sort of quiet courage you get when the fear dissipates. Maybe I'm just crazy.
When she came back for the first encore, someone made the horns gesture at her and she did it back.
She did those few lines of She a capella, then started on Honey. After the first few notes she looked straight out at the audience while throwing I guess the lyric sheet over her shoulder onto the floor. It was just so funny...though I felt kinda sad for whoever requested it...maybe next time!
I don't have much to say about the encores...I liked them and was happy about the bee sides. The mom-related songs at the end were touching. Mainly I just kept thinking throughout the show, our friend we brought who was a new fan was missing out from fully appreciating the show because we hadn't given her Pele, choirgirl or bee sides to listen to from lack of time. Oops. But she very much enjoyed the LE songs Tori played.
Afterward I just wanted to thank her, but I hadn't brought a pen and instead just watched people give stuff to Joel. I also realized though I was lucky to hear sooooo many different songs from going to both nights, there were still a bunch that I wanted to hear that I didn't get to. I understand why people travel all over the place, and thank goodness for live recordings!
They have a little lit up alien on top of the soundboard (or is it the lights...I don't have a clue). I'm done ;)
The reviews below were taken from the concert reviews section of The Dent Forum and added here on January 7, 2002Review by sufisdance
well I am back from the show in my very expensive hotel room...
first off... Dor and Joel rock Dor had my shirt that I lost last night today at the meet and greet so I got that back! yay we love Dor
said hi to Tori and she signed my cd.
got to the show and picked up my ticket at will call (this ticket on the floor) sold my first ticket for $10 to a scalper (that one was up in the balcony) and then decided to hit Joel up for an upgrade... I've never asked Joel for tickets before but he was very sweet and gave me one ticket in the second row so I ended up next to Matt (Father Lucifer) and his buddy from TX (SpaceDog11 I think) smack dab in front of Tori! pretty cool.
I really thought Tori seemed kind of sad tonight after Dutchman she said hi to us and that it was nice to see some familiar faces. She said it was a "crap day." then "but at least we're together." She also said her mom got operated on today but that she was hanging in there. And that Tash threw strawberries all over backstage "so life continues I guess."
Anyway, she smiled during Take to the Sky but I really thought she was kind of off... before Frog on My Toe she said it was for her favorite person in the whole world (except Tash). (I can't help thinking - poor Mark!)
Not the Red Baron was on the setlist (instead of Jupiter) - "She" wasn't on the setlist but someone said Tori soundchecked that and Sister Named Desire.
It was a good show (Tori is always wonderful) and 2nd row is great too but last night she was just on fire... every song last night I was ecstatic.
still Tori. still wonderful. just sad.
Review by molly (whenwedied)
i just got back from the show myself and i must say that tori seemed extremely upset throughout the set. after dutchman she lamented about what a "crap day" it had been. how her mother was being operated on..and how it was just really nice to see some familiar faces in the crowd... "well at least we're all together" she said as she teared up.
the songs seemed to generally fit the themes of loss or sadness... flying dutchman and spring haze were especially poignant. i dont know if there was a dry eye in the house after the 2nd encore of Putting the Damage On, Honey, and Mother....
she soundchecked Black Dove, Sister Named Desire, She, and Beulah Land among others.
It POURED rain in oakland all day; this show was appropriate.
i will post a full review in the morning.
I FINALLY GOT TO HEAR HONEY!!!!!!!!!!!!!!!!!!!!!!!!
Spring Haze, Honey, Take to the Sky, and MOTHER were the highlights of my night.
Another amazing journey, last year was very bad for me, so I need at least a year for Tori shows to sink in this was my 3rd time seeing her and the first time I've seen her solo. I had been to one show on the plugged 98 tour and another show on the 5 1/2 weeks tour, and I've posted reviews for those shows here on the dent That show on Monday was a very emotional time for me and of course...I felt like that setlist was just for me, more than I ever have.
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