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Rating: Finally, a little time to recount Tori Amos's last concert in Milan on May 31st. I had already heard Tori during the "Scarlet's Walk" tour, but the penultimate CD "Beekeeper" had disappointed me, and even the latest "American Doll Posse" doesn't thrill me in its verbose entirety, although after the concert and several listens, I find it more interesting!
To open the Milan date, there was a very good American acoustic band (?) that I don't know; they engaged the audience by playing guitar, violin, double bass, and percussion!
Tori performed with her beloved piano on one side and, for the initial songs, with a Yamaha keyboard on the other, which was later replaced by an "organ" (a Wurlitzer?). Some songs she played alone, while others were enriched by the usual excellent men of her band: drummer, bassist, and a guitarist who gave a strong rock imprint to the new songs. Playing with the 5 alter egos that inspired the new songs, Tori starts the show dressed as Pip - the warrior with a black wig, red dress, and black leather stockings! The songs are played excellently, energetically, and very rock: Teenage Hustling, Fat Slut, Body and Soul in addition to the wonderful Bliss and the hypnotic Smokey Joe. There were also "hilarious" moments when she turned and literally gave us her butt in the face!
Woman of a beauty not necessarily classic but very sensual. On one side of the stage, along with the nanny, was her daughter Natasha, wildly dancing and singing! For the outfit/alter ego change, a techno-acid base of Professional Widow with an extremely angry distorted guitar was played. The girl with the piano returned with a red wig and sequined dress as Tori herself, and here the setlist drove the audience into a frenzy, riding through a wide and varied repertoire: Big wheel, the unpublished Sirens, Liquid diamonds, the eclectic Cornflake girl, God, the poignant unpublished Honey and, from many comments from those present, the much-anticipated and well-recovered China. In this last classic of her repertoire, Tori once again demonstrated her skill as a musician and an American-style entertainer, the interpretation was very "convincing" and "cinematic".
Other songs from the good old days were refreshed and re-proposed: Seaside, Putting the Damage on, Spring Haze, and the new Code Red. In the middle, there was a surprise that the red-haired pianist gifted to her loyal audience: she was amiably greeting us by pointing to the various sections of the theater and began to sing, playing the piano, an unpublished (?) thanking us because "despite the stage lights glaring in her eyes and the dark moments in her life, she knows we are there." Lump in throat.
Before the encores, a band of fanatical and Masonic Amossians stealthily crawled up to the stage, and the unhealthy gesture triggered the audience's rush forward: those in the back couldn't see anything anymore except for the heads of Italian and foreign dicks (there were quite a few Americans). The herd danced to the notes of Precious Things and General Joy, and the second encore closed the party with the enigmatic jazzy Space Dog and the pearl of sadness Hey Jupiter in the deluxe format "Dakota remix" + organ.
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