Playing Her Majesty’s Theatre on Sunday November 16, Amos will be performing solo shows with only her piano on stage for company.
Currently in the USA, Amos has just finished a successful tour of South Africa and Europe, which she said she enjoyed on many levels.
“The whole South African, UK, Europe leg of the tour was really thrilling. So many great people, great audiences; inspirational. And we’re ready for the next leg.”
“This week is about building the repertoire to expand it so the show is different; different as in adding new songs every night,” she said.
It would seem as though the accomplished musician with 14 studio albums under her belt, 12 million record sales worldwide who has played more than a thousand shows and received various accolades, never stops working – and she knows it too.
“I am always working! I don’t know what I would do without doing that. I wouldn’t know how to be!” she laughed.
Having worked with orchestras, rock musicians and as a solo artist, Amos has been inspired by many different mediums to create her music.
The latest album Unrepentant Geraldines has been inspired by visual art, and her recent work with The British National Theatre as composer of The Light Princess.
“The collaboration with the British National Theatre was just unbelievable. Working with all these creative thinking people, although exhilarating, sometimes I would just run off on my own to process, and these were the songs that got me through. These were my own little private moments,” Amos said.
“Sam [Adamson – playwright]; what a gifted storyteller and lyricist. To work with him has been life changing. And I’m thrilled to tell you that The Light Princess original cast recording will be out next year. I’m producing it as a proper album, not just a live album. I want it to live in the music industry like the great releases of the 70s and early 80s,” she said.
Unrepentant Geraldines is reminiscent of Amos’ earlier works and is full of the light and shade, poetry and imagery that have made her one of the most celebrated performers in the music industry.
In a perfectly beautiful moment on the album, Amos performs a duet with her daughter, Natashya Lόrien Hawley (Tash) on “Promise” which she said grew from a conversation about listening to each other.
“We were talking about mothers and daughters and can they listen to each other, and hold a space where they don’t have to be right? And can they be moved by what the other says and make the changes without feeling like the mother is telling the daughter what to do, or daughter telling the mother what to do. Can we just listen?” she said.
“We promised that we’d do that and that’s how the song came about. It’s the next single so we just shot our video. It’s the first time we’ve ever done a video together. We had a blast,” she laughed.
Amos said she and her mother in law teach 13 year old Tash about women’s rights, women’s issues and injustice in a divided world.
And on the topic of women’s issues, Amos is interested in the plight of women in the music industry and raised some poignant views about the exploitation of women in music in the past, compared to now.
“In the old days, there were a lot of rock bands or rap artists that would have women as part of their live show or their video, doing all kinds of things on cars or in cages; and they were getting their wage but the artist or the rock band was making bank on that woman.”
“Now, if the woman is exploiting herself, she’s making bank herself. I don’t remember there being such issue in the old days that women were being exploited. I think the issue might be that women are making bank on their own exploitation,” she said.
Revered as a feminist icon and highly regarded as a singer and songwriter, Amos said in the field of visual art, although inspired by great works, she will never make the leap into the art form herself.
“Do I paint? Yeah no and you never want to see it! It’s horrendous. Any visual artist has no worry about me competing with them – it will never happen,” she laughed.
Having said that, though, she has been heavily inspired by art in Unrepentant Geraldines which was released in May this year.
“ It’s been an inspiration for quite a long time and began to make sense with “16 Shades of Blue” and “Weather Man” which make very specific references, and they develop from there with Dante Gabriel Rosetti’s wood carving in the 19th century and to Geraldine herself,” she said.
Delightfully jovial and incredibly charismatic, Amos is as magnetic and alluring in person as she is in her music.
Tickets for The Unrepentant Geraldines World Tour are on sale 10am Friday July 18. For complete tour and ticket information, visit: www.toriamos.com and www.livenation.com.au
And don’t forget to send your requests to Tori Amos for her traditional live cover version. She’s waiting for your suggestions.
“I’m waiting for the request load to come through from the Aussies so I can get working on it. I’ve got to get through the American tour first but then once I do, I’m hoping to get some requests, maybe something I haven’t heard before,” she said.
Interviewed by Libby Parker