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Tori Amos + Tyrone Noonan Her Majesty's Theatre, Mon 16 May Opening this night was a solo spot from the keyboard player/guitarist from Brisbane's George. Although I have tried to like the band, both live and on CD, Tyrone Noonan didn't offer me any reason to change my opinion. Often attempting unnecessarilyy near-operatic notes, considering the simplicity of his guitar style, Noonan began with a couple of George numbers (Rain, Polyserena) with the second half of his set on the keyboard which proved to be problematic sound-wise, which to his credit he handled good heartedly. Tori Amos however had no such troubles with her Bosendorff grand piano and Hammond D3 organ set up at close quarters opposite each other, and a smaller upright piano to the left of the stage, Ethereal in a flowing white Chiffon dress beneath a strong white light, Amos immediately took to the grand for a stirring opening with Original Sinsuality off her new album, 'The Beekeeper'. Bringing the tone back a few pegs with Beauty Queen/Horses, Amos remained firmly ensconced within her own world; then, as if someone suddenly flicked a switch, she launched into a hilariously lengthy anecdote of how she had earlier placed a plastic based jug, thinking it was a kettle, on the stove in her hotel room. Again, without any attempt at segue, Amos swung back towards her Bossendorff and delivered an emotive Silent All These Years, swinging between the piano and Hammond. Mother Revolution also proved to be a live highlight, as did another new song, Ribbons Undone. Playboy Mommy saw Amos stride towards the smaller piano, where she also performed Rattlesnakes later in the programme. Turning to what she terms as 'Tori's Piano Bar', where she chooses two requests from fans in each city, for Adelaide she performed Joni Mitchell's Circle Game, and Roberta Flack's Killing Me Softly. If there was to one minor quibble tonight (other than the absence of both China and Winter, not forgetting a small band of keyed-up fans continually yelling out at the front) it would be the lack of breathy resignation in Putting The Damage On. However, what she chose to omit popularity-wise, Amos certainly made up for by challenging fans with Ruby Through The Looking Glass and Seaside, both released only as bonus tracks elsewhere. The Beekeeper ended her set proper, and after scampering back onstage with a funny little flutter of the hands, Amos powered her way through Tear In Your Hand and Liquid Diamonds, with a second encore bringing The Power Of Orange Knickers and finally Josephine. This night's performance was as close as perfect as anyone could expect with the deep stage and crisp acoustics of Her Majesty's Theatre providing the ideal setting, with only the stark use of coloured spotlights and a hexagon screen as a backdrop. This was an experience that many will cherish for a long time to come.  |
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