Audio By Carbonatix
Oh, don’t worry. This isn’t going to be some precious piece where I channel my 15-year-old self and write a teary, gushing letter to Tori Amos. I already did that in the ‘zine I made in college. However, when I saw the Verizon Theatre date, I felt a mixture of nostalgia and curiosity. I’d memorized 1992 debut Little Earthquakes, but fell off the wagon around 1999’s From the Choirgirl Hotel. Still, she’s somehow managed to sustain an admirable career by changing costumes every few years, never settling into one sound or genre — amplified on 2007’s American Doll Posse.
Her 12th and latest album, Night of Hunters, finds her in goddess mode, indulging variations on Schubert and Bach, among others, to create a song cycle for classical label Deutsche Grammophon. She gets back to her roots while still engaging a sort of erotic spirituality, and it’s what makes her such an enduring and complex icon.
When news happens, Dallas Observer is there —
Your support strengthens our coverage.
We’re aiming to raise $30,000 by December 31, so we can continue covering what matters most to you. If the Dallas Observer matters to you, please take action and contribute today, so when news happens, our reporters can be there.
