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A JOKER, A DIVA, AND A LOTTAPIANOS By Andy Hickner Photo obtained from www.benfolds.com Property of Sony Music I've had the pleasure of seeing Ben Folds and Tori Amos separately four times each, which makes their joint show on August 18th at the amphitheater at Meadowbrook my fifth for both. The excitement building up to the "Lottapianos" show was incredible for a number of reasons: Meadowbrook is a gorgeous and intimate venue; Ben and Tori can be considered the reigning king and queen of piano-based rock in the last decade, sharing rabidly faithful fan bases and electrifying live shows; and not least, the original date for the show had been rescheduled at last minute because of the most massive blackout in U.S. history. As a veteran, this show offered few surprises but nevertheless didn't disappoint. Ben only played for about an hour, which was a little disappointing, but he managed nevertheless to toss out thirteen songs, including a couple of new songs and a surprising cover (Liz Phair's "Chopsticks"). Opening with "Best Imitation of Myself," he gave a pretty even mix of songs from each of his albums. His wisecracking carried the show as always; "Let's be all that we can be," he joked as he assigned different sections of the audience parts to sing before the riotous "Army" (he brought out that unique method of audience participation again later). "For those of you who don't know who I am, my name is Rufus Wainwright," Folds joked in response to the usual obnoxious yells for his old novelty improv "Rock This Bitch." Folds' incessant goofing around isn't quite as fun once you've seen all the tricks repeatedly (like the minor-key rendition of "Song for the Dumped" with a Japanese verse and some extra profanity on the bridge). Nevertheless, his garrulous stage manner is always endearing, especially in the story he told about the genesis of "Rockin' the Suburbs" (written in response to a public diss by Korn in Spin-- it's pretty clear who's laughing now). As he announced his last song, a good chunk of the audience, sad to see him go, actually started screaming, "No!!!!" Photo by Peter Sporck Tori's set was more inconsistent; there was good news and bad. There were her usual hallmarks, like her generosity onstage - she played twenty-two songs in the intense two-hour set, including a playful improv about the blackouts and no fewer than five songs spread over two encores. Opening as usual with the acapella Wampum Song (sung offstage) and an unusually heavy, distorted "A Sorta Fairytale," Amos hit high points early on. "Rattlesnakes" has evolved into an effortlessly groovy yet haunting classic live, and it showcased keyboard playing that may finally rival her legendary piano playing in expressiveness and subtlety. Her solo "secret time" may be the most rewarding playing I've ever heard from Tori, with aching, tender, sensuous versions of Springsteen's "I'm on Fire," "Cooling," and "Black Swan." Tori has definitely been channeling her idols Led Zeppelin lately - her backdrop was a weird stone-circle-and-falcon pattern, her outfits continue to become more and more grandiose (in a flowing gold gown, she looked like a cross between Stevie Nicks and the Lady of the Lake), and most importantly, her live shows have become consistently hard-rocking, with thunderous bass and drums underlying playing and presence that are now nothing short of Byronic, and furious energy to match any punk band notably evinced in furious, deafening versions of "Sweet Dreams" and "Precious Things" (drawing the usual audience screams at the notorious cum-and-Jesus line). Jon Evans' bass playing, while sometimes overpowering, was often excellent, particularly on the normally acoustic songs from Boys for Pele like the newly slinky "Father Lucifer" and a truly majestic duet with Tori on the bridge of "Professional Widow." The set wasn't as strong in the second half; "Take to the Sky," seemed to muddle on forever before finally vamping into the chorus of "I Feel the Earth Move," and the encores were also a mixed bag. "God," "Tear in Your Hand" (possibly the night's best vocals), and "Siren" were bright and energized, but the laid-back "Amber Waves," like many of the other songs from Scarlet's Walk, lacked Tori's usual charisma and was a lousy closer. Throughout, lyrics were lost due to excessive reverb on the vocals and other sound problems. Word on the street has it that Tori will not be touring again for a long time, possibly due to her increasing responsibilities as a mother. So it makes me doubly sad that at such a long awaited live pairing, the audience didn't get what could have easily been the night's biggest treat - a duet between Tori and Ben. Two performers of such energy and inventiveness onstage at once could have brought down the house, especially with one of the covers both artists are famous for. All we can do for now is be grateful to witness a pairing like "Lottapianos," and cross our fingers for another one. ______________________ Andy Hickner is a Bay City native currently attending Michigan State University in Lansing. This is his first contribution to The Review. |
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