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Thread: Setlist and Reviews for Los Angeles, CA 03/12/2017 [Night 3]

  1. #271
    Militia of the Mind toriMODE's Avatar
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    Swirl 2017 was excellent and so much fun to dance along to at the shows. I enjoyed it immensely, and Tori did as well and that's what made it so great.

  2. #272
    Senior Member hermes's Avatar
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    Quote Originally Posted by Faust View Post
    but yo, they got rid of the horrifying hand claps and BPM weirdness from last tour! Also that synth. Jeeez.

    I don’t love RS from this year because her vocals were fucking shot NOLA onward, but I do think it’s a vast improvement over last tour’s atrocity.
    It's just one of those song arrangements that make me wish she'd go to the people capable of programming, engineering and producing that type of stuff for her. If you want to do club music, go to people capable of doing club music. Anything else will sound, well, like an Ableton trial version sample reduced to absurdity.

    That said, I am impressed she decided to arrange "Juárez" for piano only and didn't end up cooking up some strange synth and piano combination or – even worse – relied on programmed beats. She played a fantastic rendition of "Juárez" that night and I wish she'd stick to the reliable formula that goes: if I can't achieve it by myself, I better let go of it entirely.

  3. #273
    The piano in this version of Juárez is very similar to Angels

  4. #274
    Framed and dried. InvisibleBK's Avatar
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    Quote Originally Posted by hermes View Post
    It's just one of those song arrangements that make me wish she'd go to the people capable of programming, engineering and producing that type of stuff for her. If you want to do club music, go to people capable of doing club music. Anything else will sound, well, like an Ableton trial version sample reduced to absurdity.

    That said, I am impressed she decided to arrange "Juárez" for piano only and didn't end up cooking up some strange synth and piano combination or – even worse – relied on programmed beats. She played a fantastic rendition of "Juárez" that night and I wish she'd stick to the reliable formula that goes: if I can't achieve it by myself, I better let go of it entirely.
    Having seen her arrange songs such as IIEEE (2014) and Cruel (2001) completely solo I'd say she's capable of putting anything together if she absolutely wanted to. I just get the feeling she feels that she'll lose the audience if the entire thing was completely solo and mostly piano.

  5. #275
    Senior Member grapefruit_is_winning's Avatar
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    What are people hearing in Juarez that you're responding to as "amazing" etc? I appreciate the fact that she pulled it out and tried something, but frankly it had no atmosphere and never really went anywhere. The music didn't suit the subject matter really. It certainly wasn't terrible but on the Tori performance spectrum, definitely mid-range. I don't hear anything amazing about it.

    Bossa nova infused Alamo/Smooth Operator wasn't amazing either. It totally changed the character of Alamo and was certainly no improvement on the original.

    Those were by far the lowlights of the night for me.

  6. #276
    Senior Member hermes's Avatar
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    Quote Originally Posted by InvisibleBK View Post
    Having seen her arrange songs such as IIEEE (2014) and Cruel (2001) completely solo I'd say she's capable of putting anything together if she absolutely wanted to. I just get the feeling she feels that she'll lose the audience if the entire thing was completely solo and mostly piano.
    While she certainly seems concerned to keep up an energy, I suppose it's a question of time and practice, too. Didn't she stress multiple times in 2001 that she had worked out some songs for the Wurly because she got bored in Cornwall? Evidently, there was a considerable amount of work that went into having a songbook ready for the tour. While she surely figured some things out as she went along with some of these intricate reimaginings, I'd like to believe she had most of the rearrangements down by the time she was out on tour.

    This time around, however, she didn't really have a repertoire to work with and it showed during the first few shows of the tour. One could analyse the tour's setlists, but the huge amount of songs played across relatively few shows warps the point I'm trying to make. Initial setlists were mostly made up of songs that aren't extremely difficult for her to do because she's never had to reinvent them when playing by herself. "Cloud on My Tongue" and "Tear in Your Hand" are two of those songs. Switching between keyboards for the sake of adding a different sonic tone is different from completely rearranging a piece from the scratch ("Juárez," "Hotel," "Parasol"). Unfortunately, it's the lack of the latter that I find to be a lot more problematic than the notable absence of material from the new album others have complained about. "i i e e e" from 2014 is a perfect recent example of how capable she is to do something unexpected and extraordinary with her wide catalogue. We didn't really have those moments on this tour, did we? I don't remember any apart from a sort of fresh sounding "Suede," a very different "Flicker" and a truly magnificent reapproach to "Juárez." Anything that uses live programming or a backing track at a solo show doesn't count as "innovative" in my opinion because I am interested in hearing what she and her ingenious musical sensibility has to offer on the piano.

    I can only speak for myself, but I find those solo arrangements so much more captivating because she actually does something different that's fascinating to watch and listen to. Those performances really draw me in. Considering the curiosity and openness of her audience, I'd assume that is pretty much the case for everyone. On the other hand, if she does a song she's done a million times like this anyways, I usually need to concentrate on tracing the show's narrative in the song or focussing on any musical variation she does here and there because I tend to get distracted. Of course, the tragic circumstance of her mom falling severely ill changed priorities and therefore understandably took time from professional commitments. Yet I am generally surprised she had this little rehearsal time because the deadline for the album and the start of the tour were even closer than they were three years ago. That was a narrow time window they were obviously aware of when booking shows and negotiating whatnot with Decca. I have no idea what and how she intended to rehearse in those seven days preceding opening night, but she has apparently not been very eager to do exquisite stuff this time around which is just fine. She gets to do what she wants. Who knows what she might be up to next time around, so I'm looking forward to that already.

    Quote Originally Posted by grapefruit_is_winning View Post
    What are people hearing in Juarez that you're responding to as "amazing" etc? I appreciate the fact that she pulled it out and tried something, but frankly it had no atmosphere and never really went anywhere. The music didn't suit the subject matter really. It certainly wasn't terrible but on the Tori performance spectrum, definitely mid-range. I don't hear anything amazing about it.
    I only saw a video of it, but I think it's extraordinary that she performed the song like this solo. The band version she did in 2003 didn't sound reflective of the song's atmosphere either, but I felt this recent solo version kind of drew on this rather driving sound. I honestly really enjoyed the lack of dynamics... it was interesting to hear her flesh out the song.

  7. #277
    Senior Member mich.'s Avatar
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    It might not be a mindblowing rendition of Juarez but I do appreciate her effort to bring it back solo after so many years. And only to do it one time - I think the second or third performance of this song could be stellar, if the tour was longer and she could go deeper into it emotionally. In fact, that song is so tricky live, even though it is one of my favourites, I think Toris never repeated (and probably never will) the atmosphere it had solo in 1999. The band played in 2003, 2007 and 2009 and it wasn't even close as good as London '99 for example and it sounded cheap comparing to the richness of the album version which is so fantastically produced. Therefore, I'm glad she stripped it off again to this raw, piano only arrangement as in my opinion it's the only way to escape the comparison with TVAB masterpiece.

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